(1269,1,'2010-06-18 08:21:38','2010-06-18 08:21:38','<b style=\"color:#999999;\">BELONGING IS A NECKLACE OF EXCLUSIONS</b>\r\n<b>© Nancy Adajania</b>\r\n\r\n‘Threads around the patient trunk of a peepul denote\r\nDivinity of sorts, a spirit to be worshipped.\r\n\r\nThread around the arm can mean love or luck,\r\nCan be a hope upraised to ward off the evil eye….’\r\n\r\n-Tabish Kahir, ‘Rope’ (1)\r\n\r\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\r\n\r\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\r\n\r\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\r\n\r\n… Threads around the wrist of a man recall\r\nThe knots of duty, the danger of forgetting.\r\n\r\nThreads over the shoulder proves one’s caste,\r\nThat belonging is a necklace of exclusions...\r\n\r\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\r\n\r\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\r\n\r\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\r\n\r\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\r\n\r\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\r\n\r\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines Reena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\r\n\r\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\r\n\r\n..It is thus we thread the eye of time, trying\r\nIt down with strings which web from one life\r\n\r\nTo another. Who knows what all these threads hold ?\r\nWho knows what will cease to be when they unravel?…\r\n\r\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\r\n\r\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\r\n\r\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\r\n\r\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\r\n\r\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\r\n\r\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\r\n\r\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\r\n\r\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\r\n\r\nFor there is no one who has followed the thrown\r\nBall of string of our palimpsest past to its loose\r\n\r\nEnd, and returned to tell the tale.  No wonder we cut\r\nshort lengths of threads and strings: just enough\r\n\r\nTo circle neck or tree, not enough to circumambulate Life.\r\nRope around the neck means death.\r\n\r\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\r\n\r\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\r\n\r\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\r\n\r\nNotes:\r\n<ol>\r\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\r\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\r\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\r\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\r\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\r\n</ol>\r\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','publish','open','open','','rainbow-of-refuse','','','2011-03-22 12:22:27','2011-03-22 12:22:27','',0,'http://www.biggventures.com/demo/artists/?page_id=1269',0,'page','',0),(1440,1,'2010-07-07 16:06:34','2010-07-07 16:06:34','<b>BELONGING IS A NECKLACE OF EXCLUSIONS</b>\r\n<b>Nancy Adajania</b>\r\n\r\n‘Threads around the patient trunk of a peepul denote\r\nDivinity of sorts, a spirit to be worshipped.\r\n\r\nThread around the arm can mean love or luck,\r\nCan be a hope upraised to ward off the evil eye….’\r\n\r\n-Tabish Kahir, ‘Rope’ (1)\r\n\r\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\r\n\r\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\r\n\r\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\r\n\r\n… Threads around the wrist of a man recall\r\nThe knots of duty, the danger of forgetting.\r\n\r\nThreads over the shoulder proves one’s caste,\r\nThat belonging is a necklace of exclusions...\r\n\r\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\r\n\r\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\r\n\r\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\r\n\r\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\r\n\r\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\r\n\r\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines\r\nReena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\r\n\r\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\r\n\r\n..It is thus we thread the eye of time, trying\r\nIt down with strings which web from one life\r\n\r\nTo another. Who knows what all these threads hold ?\r\nWho knows what will cease to be when they unravel?…\r\n\r\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\r\n\r\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\r\n\r\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\r\n\r\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\r\n\r\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\r\n\r\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\r\n\r\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\r\n\r\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\r\n\r\nFor there is no one who has followed the thrown\r\nBall of string of our palimpsest past to its loose\r\n\r\nEnd, and returned to tell the tale.  No wonder we cut\r\nshort lengths of threads and strings: just enough\r\n\r\nTo circle neck or tree, not enough to circumambulate Life.\r\nRope around the neck means death.\r\n\r\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\r\n\r\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\r\n\r\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\r\n\r\nNotes:\r\n<ol>\r\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\r\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\r\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\r\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\r\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\r\n</ol>\r\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','inherit','open','open','','1269-revision-3','','','2010-07-07 16:06:34','2010-07-07 16:06:34','',1269,'http://www.biggventures.com/demo/artists/1440/uncat/1269-revision-3',0,'revision','',0),(1270,1,'2010-06-18 08:18:53','2010-06-18 08:18:53','Reena Saini Kallat’s work remains one of the most exciting in Indian art today, for its ability to consistency elicit responses from its audience, requesting the terms of contemporary life through an art practice that references the personal and the political.  Moreover her practice is one which spans painting, sculpture and installation, bringing them together with an enviable ease and creating a visual presence that is keenly aestheticised to underscore Reena’s concerns as an individual, and an artist-citizen.  For her, the fragmented body has been a site for exploring issues of identity, belonging and nationalism, in turn referencing the geo-political body of a nation created in the wake of fragmentation.\n\nIn the exhibition “Rainbow of Refuse”, Reena furthers this exploration by addressing contentious issues such as those of aggression perpetrated by a nation under the guise of security and defense.  The universality of such a state and its local relevance, the historical precedence and its immediate presence, are only a few of the juxtapositions that she sets up in her work.  These in turn impel the viewer to reassess their original impressions and assumptions, to look more closely at the enticing visual, and see its latent meanings.  The beauty of the objects chosen is belied by their implicit violence; however the artist retrieves these as symbols, repositions them and even creates new ones along the way.  There is a resultant irony that runs through her work and leaves the viewer acutely aware of the fragility of the human condition in the face of the oppressive political forces at play.\n\nBodhi Art is delighted to present this powerful and nuanced exhibition of Reena Saini Kallat’s latest body of work.  We would also like to express ours thanks to Nancy Adajania for her insightful essay on Reena’s work in the current exhibition.  ‘Rainbow of Refuse” will be showcased at Bodhi Art, Mumbai and will then travel to Bodhi Art’s new space in Singapore.\n\nBodhi Art\n\nBelonging is a Necklace of Exclusions\n\nNancy Adajania\n\n‘Threads around the patient trunk of a peepul denote\nDivinity of sorts, a spirit to be worshipped.\n\nThread around the arm can mean love or luck,\nCan be a hope upraised to ward off the evil eye….’\n\n-Tabish Kahir, ‘Rope’ (1)\n\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\n\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\n\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\n\n… Threads around the wrist of a man recall\nThe knots of duty, the danger of forgetting.\n\nThreads over the shoulder proves one’s caste,\nThat belonging is a necklace of exclusions...\n\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\n\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\n\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\n\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\n\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\n\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\n\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines\nReena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\n\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\n\n..It is thus we thread the eye of time, trying\nIt down with strings which web from one life\n\nTo another. Who knows what all these threads hold ?\nWho knows what will cease to be when they unravel?…\n\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\n\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\n\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\n\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\n\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\n\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\n\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\n\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\n\nFor there is no one who has followed the thrown\nBall of string of our palimpsest past to its loose\n\nEnd, and returned to tell the tale.  No wonder we cut\nshort lengths of threads and strings: just enough\n\nTo circle neck or tree, not enough to circumambulate Life.\nRope around the neck means death.\n\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\n\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\n\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\n\nNotes:\n<ol>\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\n</ol>\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','inherit','open','open','','1269-revision','','','2010-06-18 08:18:53','2010-06-18 08:18:53','',1269,'http://www.biggventures.com/demo/artists/1270/uncat/1269-revision',0,'revision','',0),(1271,1,'2010-06-18 08:22:03','2010-06-18 08:22:03',' <b style=\"color:#999999;\">THE ARCHIVES OF THE HEART</b>\r\n<b>© Nancy Adajania</b>\r\n\r\n\r\nAn island in Japan houses an archive of heartbeats gathered from people living in different parts of the world. We might regard this as a New Age technique of mummification. And indeed, in this work, ‘Les archives du coeur’ (2008), Christian Boltanski creates what the curator Tessa Praun describes as a unique class of ‘portraits’, her contention being that these recorded heartbeats will prolong the lives of the subjects even after their physical death. [1] Since the 1960s, Boltanski has been recording his own personal effects, as well as those of anonymous people condemned to occupy the margins of history. His photographic portraits are subject to the tremors of representation, appearing to float in a liquid blur, in the twilight zone between birth and dying, between the wingbeat of recorded history and the ephemera of personal memory. With his idiosyncratic conceptual take on portraiture in ‘Les archives du coeur’, Boltanski distils the portrait into a pure note of classical music, a thrum of life that transcends local and corporal circumstances and reminds us of the survivor’s drive that has kept us going on the long journey from Olduvai Gorge.\r\n\r\nLaunched on an analogous quest for the posthumous evidence of the missing, Reena Saini Kallat began to experiment in early 2000 with the portraiture of anonymous denizens of the global multitudes. Her passion for nameless faces gradually grew into an obsession with compiling archives of the missing and the dead from India, articulating in contour a history of post-colonial India as told through traumatic upheaval. Recall that the nation-state of India was born in cataclysmic circumstances, through the Partition, which was accompanied by pogroms, forced migrations, mass rape and the irrevocable dispersal of families and communities. Such crises have recurred in India since, at different scales and intensities, because India balances on a paradox, between robust democracy and relentless atrocity. \r\n\r\nThe political logic of democracy has been to enfranchise every single individual, so that in theory every single person has a name and a share in electoral power. Therefore, metaphorically speaking, we could say that the nation-state is a complex composite portrait made up of a billion mosaic units. The tragedy is that we cannot see these units clearly, but only through a symbolic blur. While the Constitution of India guarantees its individuals various entitlements, in reality the vast majority cannot articulate their political rights.\r\n\r\nPrecisely this paradox animates Reena’s mixed-media works, photographs, sculpture installations and video in the recent suite of works, ‘Silt of Seasons’ (Chemould Prescott Road, Bombay, 2008). In ‘Synonym’ (2007), for instance, we are confronted with a series of 6-foot-high portraits of ordinary citizens constructed from hundreds of painted rubber-stamps bearing names gathered from police records. She scours the records to retrieve the memory of those who have disappeared during riots, earthquakes, landslides or genocides. \r\n\r\nWith ‘Synonym’, Reena constructs an anti-monument. Unlike official monuments, which extol the virtues of permanence, these portraits appear like ghostly transmissions from another planet. From a distance, they look like burnt, scarred faces; up close, they pixellate, lose definition, hover in a grey zone. They are, in the development activist Dunu Roy’s words, “nowhere people looking for a somewhere place.”\r\n\r\n\r\n<b>A Sentimental Education </b>\r\n\r\nWhat’s in a name? Deep histories of violence and loss. Bodies are swallowed up by mass graves, dumped into oceans, shovelled into ovens. Names remain, residues silted up in the ever-growing list of the missing. Names are talismans of absence, keys to a resistance against amnesia. The spectre that haunts Reena’s art is the spectre of forgetting. \r\n\r\nTwo anomalies remain behind in the ruins of war, civil strife and genocide twinned in a cruel asymmetry: bodies without names and names without bodies. When we go close to the portraits, we realise that the names are withheld in plain view. Hundreds of names in 14 different languages in reverse sensitise us to the fact that historical silences cannot be decoded with the certainty of a cryptographer, and that loss cannot always be compensated.\r\n\r\nCuriously, despite being the carriers of hundreds of names, the portraits themselves remain unnamed. Or alternately, we might think that instead of having a fixed identity, the portraits possess multiple lineages of ethnicity, language and religious persuasion. Reena’s acts of naming and recalling suggest a secular, politicised recovery of the practice of japa or dhikr. Instead of a mantra or the names of God, the artist recounts the last traces of history’s victims.\r\n \r\nThe methodology of ‘Synonym’ shares an unmistakable affinity with that employed by Chuck Close in his portraits, where the picture grid is incrementally built from units consisting of finger-prints, scribbles and wads of pulp paper. As Close observes about his artistic process: “It’s that tension between the artificial and the real – the insistent flatness of the surface and the conjured up illusion that makes for a very physical experience for the viewer.” [2] \r\n\r\nThat said, the act of painterly representation can involve the reductive translation of a wide range of surfaces and effects into the relatively limited language of the medium, of pigment, brush, knife, spatula, rag and roller. By contrast, Reena extends painterly media in such as way that a wide array of palpabilities is made disturbingly available. For example, the bruised skin of the portraits produced from an intense chromatic saturation and their extra-dimensionality, the move made from the painted surface of the rubber stamps to their tactile knob-like presence on the reverse. \r\n\r\nIndeed, we realise that these works are no longer paintings, but rather, are delivered as sculptures in the round. This is where their family resemblance with Close’s portraits ends. Although Reena’s mixed media works seem to function in an interlocking grid, they are more like jigsaw puzzles in nature than grid-like. And unlike Close’s incrementally painted grids, we realise with some surprise, these works are formally sculptural: they occupy mass and volume and create dense black silhouettes. This gives them edge and unpredictability: double portraits that confront us with one face and darken the walls with their spectral shadows.\r\n\r\nThe first time the artist deployed the rubber stamp as an object and device was in a sculptural assemblage titled ‘Kiosk’ in 2003. She recomposed the colours of the Indian flag by suspending rubber stamps from a stand. The mixed-up colours of the flag were meant to stamp out the violent differences wracking the Indian republic. A mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to renew the original contract of inclusiveness that the nation promised its citizens in 1950, accompanied the sculpture.\r\n\r\nThe rubber stamps and the MOU signal the dialectical tension between two discourses, that of the juridical and of sentiment: a tension that has underwritten Reena’s art over half a decade. The play with the juridical documents that legitimise the authority of the State and the status of the citizen is not difficult to decode; but the discourse of sentiment is less easily reduced to evidence. What is the locus of sentiment? For instance, the term ‘public sentiment’ is grossly manipulated in a country which is governed by competing populist forces whose only aim of politics is to secure a ‘vote bank’, a reliable support base constructed on the basis of an exclusive and defensive group identity, and where, as a corollary, popular mobilisations are made by playing up religious and linguistic differences among a largely illiterate electorate. Repeatedly, in over six decades of Independence, charlatans of every shade from the Left, Right and Centre have played with public sentiment to disrupt peace, manufacture riots and factionalise a society already divided along identitarian lines. When I speak of the discourse of sentiment in Reena’s art, I mean that she provides her viewers with a ‘sentimental education’ in the Flaubertian sense. This has nothing to do with sentimentality as commonly conceived, meaning the maudlin expression of strong feeling. On the contrary, it signifies a training in the modes of responding to a potentially fracturing experience in such a way as to develop the resources of the self: sensitivity, reflection, the ability to understand vicissitudes, the gifts of acceptance and reconciliation. Such an education in feeling has specific value in a desensitised society where the values of liberty, equality and fraternity have been sacrificed at the altar of expediency. In Reena’s art, the discourses of the juridical and of sentiment manifest themselves as a relay of effect and affect in the public domain.\r\n\r\n\r\n<b>Branding/ Incisions </b>\r\n\r\nIn ‘Crease/Crevice/Contour’ (2008), a set of ten photographic prints of a torso are stamped with the changing contours of a contested territory. As we trace the changing magnifications of these red scars, we realise we are looking at a woman’s torso, vulnerable to the brandings of a territorial claim. The figure of the abducted woman has haunted both sides of the Partition: Hindu and Sikh women were abducted by Muslims on the one hand, and Muslim women by Hindus and Sikhs on the other, in 1947. Within a few years, with no hope of recovery by their families and an acceptance of their new lives, many of these women married their abductors and even had children. Then, with the horrifying lack of compassion that only the most public-spirited can afford, commissions of recovery decided that the women must be found and ‘returned’ to their ‘original’ countries, even if this meant destroying the new families they had created, separating them from their husbands and children. Stories recounted by feminist writers about these search and recovery operations for abducted women both from India and Pakistan after Independence make for chilling reading. Veena Das observes that the recovered women were not seen as citizens with equal rights but were seen as ‘sexual and reproductive beings’ who had to be returned to their rightful territory to save the ‘national honour’. As Das observes: “In the fantasy of men, the inscription of nationalist slogans on the bodies of women (Victory to India, Long Live Pakistan) or proclaiming possessions of their bodies (This thing, this loot – ye maal – is ours), would create a future memory by which men of the other community would never be able to forget that the woman as territory had already been claimed and occupied by other men. The bodies of the women were surfaces on which texts were to be written and read – icons of the new nations.” [3] \r\n \r\nThe contested territory in Crease/Crevice/Contour happens to be Kashmir, morphing in relation to the LOC (Line of Control) between October 1947 and December 1948. Neither India nor Pakistan has been able or willing to resolve this issue. Kashmiris call it the Ceasefire Line, not agreeing to the military strategists’ ambiguous term LOC. Since the late 1980s, the women of Kashmir have suffered violation and brutality at the hands of the militants and the Indian state: the scars have deepened.   \r\n\r\nAs a gesture of healing, the artist decided to stamp the names of people who have signed the peace agreement between India and Pakistan on the woman’s torso. Thus, Reena’s representation of the woman’s body in ‘Crease/Crevice/Contour’ is that of desiring agency rather than passive victimhood.\r\n \r\n\r\n<b>Where Have The Masons Gone? </b>\r\n\r\nHistory has shown us how the names of people who have suffered slavery or genocide are transformed into ciphers, recall the branded foreheads of Chinese slaves or the numbered bands of the Holocaust victims. Artists have responded to these historical silences by building memorials and making mementos. I would like to draw parallels between Reena’s recent work and Maya Lin’s ‘Vietnam Veterans Memorial’ (1982) and Boltanski’s ‘The Missing House’ (1990). \r\n\r\nLin’s ‘Vietnam Veterans Memorial’, which began as a controversial public arts project, has achieved iconic status. The granite wall (built, incidentally, from stone quarried in South India) is etched with 58,175 names of US soldiers who died during the Vietnam War. The present melds into the past as the families of the veterans see their reflections in a wall that is more mirror than stone. This fluid interface becomes urgently haptic as they take away rubbings of the names as souvenirs. [4] \r\n\r\nIn ‘The Missing House’ (1990), Boltanski has placed nameplates on the facade of a building in Berlin that had formerly been occupied by Jewish families, and had been destroyed by Allied aerial bombardment in 1945. The artist makes a gesture that is at once archaeological and elegiac, by reminding an urban present of one of its brutally erased pasts. [5]  \r\n\r\nReena’s first attempt at creating memorials for the ordinary citizens began with her series ‘Sword-Swallowers’ (2004). Painted portraits with unfolding screens of visual inscription were installed in the form of archetypal memorial columns or steles. The stele narrates the deeds of the heroes of the ancient world to gods and humans. But the people we meet in Reena’s contemporary memorial columns are not legendary heroes but day-to-day survivors. [6] \r\n\r\nIn her recent works, Reena puts the erased impulses of ordinary people back into the historical record. She dismantles historical monuments brick by brick, metaphorically, and stamps them with the names of the workers who built them. She redrafts the Taj Mahal’s beautiful pietra dura patterns, using the names of workers and their guild signatures, instead of the precious stones originally inlaid there. This gesture of defacing the monument with the marks of labour creates a dense and robust beauty, cutting against the refined craftsmanship we are familiar with. Bertolt Brecht’s song, ‘A Worker Reads History’ returns to our lips: \r\n\r\n“Who built the seven gates of Thebes? \r\nThe books are filled with names of kings.\r\nWas it the kings who hauled the craggy blocks of stone? \r\nIn the evening when the Chinese Wall was finished \r\nWhere did the masons go?”\r\n\r\nIn the same vein, the artist subverts the solidity of the Mughal architectural masterpiece by making it porous, a see-through curtain that marks domestic thoroughfare. The beads of the curtain recount the names of the lovers who will not make it to the history books, but who will live on in graffiti and song. Other monuments like Bombay’s colonial structure the Gateway of India is scaled down to act as a maquette or a teaching model in an urban history museum. The litany of colonial names of streets – Ropewalk Lane, Cruickshank Lane, Hope Street and so forth – were embossed on the structure to remind us of our present rather than of our past. Bombay was renamed under pressure from right-wing nativist forces in the mid-1990s and is now Mumbai. This politics of renaming shows the rise of an illiberal politics that has no interest in securing the rights of citizens but prefers to produce the empty spectacle of demagogic triumph over hapless symbols, branding and re-branding streets and squares, tearing down and replacing public statuary.\r\n\r\n<b>The Lost Mother </b>\r\n\r\n“I began to work as an artist when I began to be an adult, when I understood that my childhood was finished, and was dead. I think we all have somebody who is dead inside of us. A dead child. I remember the Little Christian that is dead inside me.” [7]\r\n\r\nWhile Boltanski’s art may be activated by the dead child he carries within himself, I would say that in Reena’s case it is the memory of her dead mother that has given birth to an art of (un)belonging. Although she professes not to allow autobiographical elements to enter into her work, she has made such exceptions as ‘Walls of the Womb’, a work made two years ago and scored in Braille to articulate hazy memories of her mother who died of cancer when she was a child. It could be argued that Reena’s obsessive inscription of the names of the missing could have its roots in her search for the mother she never knew. The personal is the political and her loss becomes, in her art, a mode of recovering the status of all those citizens who have not been mourned properly, whose memories are alive only in their erasure. [8]\r\n\r\nReena’s first video work, which is projected on the contested territory of Kashmir, is the most powerful work in this suite. Names scatter like snowflakes and dissolve into other names. We stand mesmerised as a blue spiritual light sheathes names of people belonging to various religions and ethnicities. Suffering recognises no distinctions. In this work, the conceptual charge of Reena’s art is seen to advantage; elsewhere, it can sometimes be overwhelmed under the dazzling effects of surface or technical accomplishment that she brings to the production of her art. With its minimalism and clarity, the video takes the logic of japa or dhikr to its conclusion. It is a prayer, but it is also an ode to silence.  \r\n\r\n\r\n<b>Notes & References</b>\r\n\r\n1. See Tessa Praun, ‘Les archives du coeur’ in Zeitung für Kunst und Ästhetik (Buch 3, 2/2008).\r\n\r\n2. See ‘Chuck Close: Decoding the Mysterious Process of Art’ in Herb Meyers and Richard Gertsman eds., Creativity: Unconventional Wisdom from 20 Accomplished Minds (New York: Palgrave Macmillan, 2008).      \r\n\r\n3. See Veena Das, Life and Words: Violence and the Descent into the Ordinary (New Delhi: Oxford University Press, 2007).    \r\n \r\n4. See Robert Campbell, ‘An Emotive Place Apart’ (A.I.A. Journal, May 1983). \r\n\r\n5. See http://www.chgs.umn.edu/museum/memorials/berlin/index.html\r\n\r\n6. See Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Bombay, & Nature Morte, New Delhi, 2005).   \r\n\r\n7. See http://www.tate.org.uk/magazine/issue2/boltanski.htm\r\n\r\n8. See Nancy Adajania, ‘The Braille of Desire’, essay in the exhibition catalogue, Urban Manners: 15 Contemporary Artists from India (Hangar Bicocca, Milan, in collaboration with Art for the World, Geneva & Milan, 2007).<p>&nbsp;</p><b style=\"color:#999999;\">BEYOND RESOLUTION: THE ART OF REENA SAINI KALLAT</b>\r\n<b>© Murtaza Vali</b>\r\n\r\nI\r\nThe dramatic expansion of mass media – print, televisual and cybernetic – that followed economic liberalization in the early 1990s, has profoundly shifted the terrain of the visual in India. The growing ubiquity of media images has forced artists to reexamine the changing status, role and power of the image in contemporary culture. According to Nancy Adajania, this dynamic new mediascape has inspired the emergence of a “new mediatic realism,” a realist impulse among Indian painters that explicitly references the imagery, format, effects and surfaces of the media flow.  Like many of her peers, in her recent work Reena Saini Kallat has experimented with strategies for arresting the overwhelming glut of media images and imbuing these images, especially those of people, with renewed pictorial and emotional significance. Her approach has been to anoint the human image sourced from the media with symbols and icons from a mythic register. In the 2004 series Sword Swallowers, generic portraits of ordinary people, sourced from the Internet, topped stele-like stacks of paintings filled with fantastical images of warring demons. Two years later, in the Penumbra Passage (Canine Cases) series, similar painted portraits appeared again, each framed and stained with a floating form in the shape of the contested Occupied Kashmir region, and hovering over a museum case containing tiny toy-like weapons arranged like a menacing set of teeth. According to Adajania, Saini Kallat’s constellations of images and objects, of the mediatic real juxtaposed with the mythic imaginary, may be understood as serving an “apotropaic” function, providing a spiritual salve for the many evils and injustices that trouble India and its least fortunate citizens.  \r\n	Saini Kallat’s recent Synonym series marks a distinct departure. Here, the portraits stand alone, monumental yet atomized, composed entirely of hundreds of painted rubberstamps, each bearing a name (in reverse) in one of over fourteen Indian languages. From the appropriate viewing distance the array of stamps coalesce into a recognizable human image; up close they register as pure pattern, an irregular lattice of color and text. Ambiguously hybrid objects, they oscillate between photography, painting and sculpture, between human portrait and abstract pattern, between image and text. Seemingly forgoing the mythic as the mode for consecrating human images extracted from the media flow, the Synonyms instead register in their very pixilated materiality the growing fragility and profound dissolution of the human image enacted by the spread of media, an indeterminacy that appears to extend to issues related to subjectivity, identity and citizenship that these human images embody. \r\n	The Synonyms are not without precedent and bear superficial similarities to Chuck Close’s large gridded portrait paintings or Rashid Rana’s Ommatidia series, composite digital prints of Bollywood heartthrobs composed of thousands of tiny images of everyday Pakistani men. However, Saini Kallat’s works, comprised of short interlocking horizontals and verticals of varying lengths, reject the stability that a regular orthogonal grid might provide. The composite image that emerges more closely resembles a mosaic or, in the artist’s own words, a “circuit board,” pulsating, as the eye is forced to wander across the surface in search of a visual anchor.  Despite their three-dimensionality, for Saini Kallat, these works are intimately tied to the history of painted portraiture, reflecting her training at Mumbai’s Sir J.J. School of Art and revealing much about the craft of painting. Encrusted with illegible text, each stamp resembles an individual brushstroke, its rough surface suggesting the impasto of an Impressionist or Post-Impressionist canvas. Like these earlier styles, Saini Kallat’s Synonyms challenge the smooth illusionistic space of traditional painting, evincing instead the piecemeal way in which a painted image is constructed, through the careful application of individual marks. Saini Kallat goes a step further, literally disintegrating the picture plane, dramatizing the dialectical relationship between image and mark.   \r\n	In their teeming, tessellated and text-ured surfaces, these portraits seem to visualize the Nehruvian maxim of ‘unity in diversity,’ a popular nationalist creed that asserted that India’s national identity and true strength lay in its cultural diversity, that a palpable but indefinable ‘Indianness’ united and transcended the myriad of ethnicities, religions, castes, and languages found across the nation.  While the motto served as an important rallying cry, mobilizing these diverse populations against the colonial power, India’s troubled post-colonial history has demonstrated that, though laudatory, it is a difficult if not impossible ideal to achieve. Rather than naively celebrating its increasingly hollow utopian multiculturalism, Saini Kallat’s Synonyms reflect the strange paradox and delicate tension inherent in this nationalist credo; their trembling surfaces register difficult lessons about democracy, secularism and citizenship. The unstable formal relationship between image part and image whole serves as metaphor for the increasingly fraught relationship between the individual and the collective, the citizen-subject and the nation-state, the regions and the center. Like in these portraits of its citizens, which do not completely cohere, resolution is never absolute in a democracy like India and consensus is at best temporary and ephemeral, the result of constant and always contested negotiation.\r\n	The stamps in these portraits bear the names of those officially registered as missing, from victims of the natural disasters, riots and accidents that regularly afflict the Indian populace, to those whose disappearances are inexplicable but no less distressing, who have willfully absconded or been forcefully abducted. While Saini Kallat’s earlier experiments with portraiture reproduced anonymous images from the Internet these works are based on photographs of migrant workers, many children, encountered in the artist’s Mumbai neighborhood, shot by the artist herself. Despite the somewhat impersonal passport photograph format, the occasional coyly tilted head or cheeky grin betrays the warm intimacy of this face-to-face encounter. Their collective title, Synonym, suggests a series of equivalences: between the linguistic, ethnic, religious, caste and cultural differences registered in the variously scripted names, between those named and those pictured, between the missing person and the migrant worker. The missing, in Saini Kallat’s own words, are those who have “slipped out of the radar of human communication, [have been] thrown off the social safety net.”  The migrant worker’s existence is similarly precarious; displacement from their rural homes severs their traditional bonds of kith, kin and community, resulting in a gnawing instability and deep sense of loss. And like the missing, the migrant workers are rendered invisible; they are the dark under belly of the metropolis, the hidden and exploited work force whose unacknowledged labor is, however, integral to its proper functioning. While the Synonyms rightly monumentalize these marginalized figures, their portraits remain visually liminal, their faces appearing and disappearing like phantasms.  \r\n\r\nII\r\nThe name as marker of the subaltern citizen reappears in the photographic series and sculptural installation entitled Lunar Notes (2008). Arranged in an incomplete grid, the photographs document instances of ‘love-graffiti’ scrawled and etched on the often ornately carved but decaying walls of historic monuments across India. To the authorities that manage these heritage sites, the inscriptions are a nuisance, small acts of vandalism that collectively threaten the integrity of national treasures. One tongue-in-cheek image includes a clearly ignored Archaeological Survey of India sign pleading, “Thank you for not scratching on the monument.” Drawn to these scrawls for their tender transposition of the private emotion of love into the public sphere of history, Saini Kallat began systematically documenting examples encountered on her travels. Seemingly neutral documents, these photographs, however, reveal a profound tension between the master narrative of Indian history and literature and the quotidian experiences and desires of its subaltern citizens. Examples of a spontaneous populism, little acts of romantic resistance to eventual historical absence, the inscriptions, through the most human of emotions, register a powerful need to index subaltern presence by literally etching one’s name onto the architectural edifices of history. \r\n	Inspired by the photographs, the accompanying sculptural installation is a curtain comprised of strings of variously sized beads of bonded marble, that, from a distance suggest the silhouette of the Taj Mahal. Along with the names of the everyday Romeos and Juliets documented in the photographs, the beads bear those of great lovers from the annals of Indian myth and history: the star-crossed Punjabi lovers Heer and Ranjha, immortalized in verse by Waris Shah; the Mughal emperor Shah Jahan and his queen Mumtaz, the monument’s patron and muse respectively. An architectural masterpiece and an enduring memorial to lost love, the Taj is increasingly a visual cliché for India, repeated ad nauseam on travel guides, tourist brochures and snapshots, and kitsch souvenirs. The installation seems to acknowledge this dual status, and like the Synonyms, uses optical resolution as metaphor. The image of the monolithic Taj is literally dispersed, rendered fragile and fugitive like the love it symbolizes, a fleeting vision increasingly difficult to resolutely grasp.  \r\n\r\nIII\r\nIf the Synonyms and Lunar Notes both rely on the limits of optical resolution to address the indeterminate status of hallowed national myths, Saini Kallat’s other recent work focuses on the always uncertain relationship between India and Pakistan, a conflict that, despite repeated efforts at peace, appears irresolvable. Saini Kallat unites work in diverse media through her iconographical repetition of the form of the still-disputed territory of Occupied Kashmir, a shape, that for the artist, becomes an “emblem of human folly,” and carries with it a powerful traumatic legacy that continues to taint Subcontinental geo-politics.  The brazen terrorist attacks that besieged Mumbai for three devastating days in late November, and appear to have derailed attempts at peace between the two countries, are just the latest disheartening reminder of this.\r\n	In Crease/Crevice/Contour (2008), a series of ten photographs trace the shifting Line of Control (L.O.C.) between the newly independent India and Pakistan during their first war over the region of Kashmir. In each image, the specific contours of the conflict area at a particular stage of the conflagration – which lasted from October 1947 to December 1948, following on the heels of the devastation of Partition – is rubber-stamped onto a woman’s naked back. The form is composed of the names of signatories of a petition demanding the construction, at the Wagah-Attari border crossing, of a bilateral memorial to victims of Partition violence, such an official public acknowledgement of atrocities being a necessary first step to resolving deep-rooted traumas and achieving lasting peace in the region.  By visually equating territory and the female body, Saini Kallat extends the popular concept of Bharat Mata or Mother India, of the nation personified as a nurturing and self-sacrificing Mother Goddess, a patriarchal archetype of Indian femininity that emerged in nationalist discourse in the late Nineteenth century. However, her analogy introduces a critique. Stamped in blood red ink, the changing cluster of names resembles an embarrassing birthmark or a malignant skin lesion, growing or shrinking with the shifting frontline. As a “residual scar” of an ongoing territorial dispute, one that has cast a lingering shadow of violence and mistrust over the Subcontinent’s post-colonial history, the form symbolically marks the fact that women inadvertently bear the brunt of such hostilities, their bodies literally invaded, defiled, occupied and exchanged, like pieces of land.  During the dark days of Partition, on both sides of the newly drawn border, women were abducted and forcibly converted, raped and murdered by strangers as a show of strength, and killed by their own to safeguard so-called ‘family honor.’ \r\n	Through exaggerations in scale and symbol, the playfully absurd sculptural installation White Heat (2008) dramatizes the frustration that characterizes attempts to resolve the conflict. Perched atop an ironing board is an oversized iron, its flat surface encrusted with ornate weapon-like projections that render it useless, unable to smooth out the creases in a cloth repeatedly embroidered with the form of the contested territory. Embedded within the weapons are the characteristic rooftops of religious monuments – a mosque dome, a temple shikhara, a church steeple – a gesture that acknowledges how religion is cynically, strategically and divisively wielded by power hungry politicians on both sides, hindering all attempts at peace. In contrast, Silt of Seasons (2008), the artist’s first video installation, appears more optimistic. Projected onto sand shaped into the form of Occupied Kashmir, recalling Saini Kallat’s previous use of rangoli or ritual floor patterns, are the names of signatories of a recent peace petition. Each name, carefully spelt out in letters of sand, appears momentarily, eventually blowing away, its transience reflecting the fragility of the peace process. Yet the piece balances elegy with hope; each erased name is promptly replaced by that of another peace advocate, the desire for and commitment to peace enduring, renewing itself with each new name.\r\n\r\n*****\r\nDisplaying these varied works, both in subject matter and medium, together under the exhibition title “Subject to Change Without Notice” is more than mere acknowledgement of the paralyzing bureaucratic inconsistency that has long characterized everyday life in India.  Rather, the indeterminate and precarious status it describes is a Cassandra-like warning issued by the artist to her fellow citizens. While India might be shining bright as it triumphantly emerges onto the world stage as a political and economic superpower, its status as such will always be tenuous until it resolves the specters that haunt it, until it acknowledges and grapples with the profound trauma that accompanied its independence and its enduring legacy of violence, and it achieves equal access to the rights and freedoms promised under the Republic’s constitution for all its citizens. Until then India might just remain beyond resolution.        \r\n\r\n<b>New York, December 2008</b>\r\n\r\n','','','publish','open','open','','reena-kallat','','','2011-03-23 06:52:48','2011-03-23 06:52:48','',0,'http://www.biggventures.com/demo/artists/1271',0,'page','',0),(1272,1,'2011-01-19 04:53:02','2011-01-19 04:53:02','<strong style=\"color: #999999;\">BELONGING IS A NECKLACE OF EXCLUSIONS</strong>\n<strong>Nancy Adajania</strong>\n\n‘Threads around the patient trunk of a peepul denote\nDivinity of sorts, a spirit to be worshipped.\n\nThread around the arm can mean love or luck,\nCan be a hope upraised to ward off the evil eye….’\n\n-Tabish Kahir, ‘Rope’ (1)\n\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\n\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\n\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\n\n… Threads around the wrist of a man recall\nThe knots of duty, the danger of forgetting.\n\nThreads over the shoulder proves one’s caste,\nThat belonging is a necklace of exclusions...\n\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\n\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\n\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\n\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\n\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\n\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\n\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines Reena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\n\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\n\n..It is thus we thread the eye of time, trying\nIt down with strings which web from one life\n\nTo another. Who knows what all these threads hold ?\nWho knows what will cease to be when they unravel?…\n\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\n\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\n\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\n\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\n\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\n\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\n\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\n\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\n\nFor there is no one who has followed the thrown\nBall of string of our palimpsest past to its loose\n\nEnd, and returned to tell the tale.  No wonder we cut\nshort lengths of threads and strings: just enough\n\nTo circle neck or tree, not enough to circumambulate Life.\nRope around the neck means death.\n\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\n\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\n\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\n\nNotes:\n<ol>\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\n</ol>\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','inherit','open','open','','1269-autosave','','','2011-01-19 04:53:02','2011-01-19 04:53:02','',1269,'http://www.biggventures.com/demo/artists/1272/uncat/1269-autosave',0,'revision','',0),(2077,1,'2010-07-07 17:44:56','2010-07-07 17:44:56','<b style=\"color:#999999;\">BELONGING IS A NECKLACE OF EXCLUSIONS</b>\r\n<b>Nancy Adajania</b>\r\n\r\n‘Threads around the patient trunk of a peepul denote\r\nDivinity of sorts, a spirit to be worshipped.\r\n\r\nThread around the arm can mean love or luck,\r\nCan be a hope upraised to ward off the evil eye….’\r\n\r\n-Tabish Kahir, ‘Rope’ (1)\r\n\r\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\r\n\r\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\r\n\r\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\r\n\r\n… Threads around the wrist of a man recall\r\nThe knots of duty, the danger of forgetting.\r\n\r\nThreads over the shoulder proves one’s caste,\r\nThat belonging is a necklace of exclusions...\r\n\r\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\r\n\r\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\r\n\r\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\r\n\r\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\r\n\r\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\r\n\r\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines\r\nReena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\r\n\r\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\r\n\r\n..It is thus we thread the eye of time, trying\r\nIt down with strings which web from one life\r\n\r\nTo another. Who knows what all these threads hold ?\r\nWho knows what will cease to be when they unravel?…\r\n\r\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\r\n\r\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\r\n\r\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\r\n\r\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\r\n\r\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\r\n\r\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\r\n\r\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\r\n\r\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\r\n\r\nFor there is no one who has followed the thrown\r\nBall of string of our palimpsest past to its loose\r\n\r\nEnd, and returned to tell the tale.  No wonder we cut\r\nshort lengths of threads and strings: just enough\r\n\r\nTo circle neck or tree, not enough to circumambulate Life.\r\nRope around the neck means death.\r\n\r\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\r\n\r\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\r\n\r\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\r\n\r\nNotes:\r\n<ol>\r\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\r\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\r\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\r\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\r\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\r\n</ol>\r\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','inherit','open','open','','1269-revision-6','','','2010-07-07 17:44:56','2010-07-07 17:44:56','',1269,'http://www.biggventures.com/demo/artists/2077/uncat/1269-revision-6',0,'revision','',0),(1439,1,'2010-06-18 08:21:38','2010-06-18 08:21:38','Reena Saini Kallat’s work remains one of the most exciting in Indian art today, for its ability to consistency elicit responses from its audience, requesting the terms of contemporary life through an art practice that references the personal and the political.  Moreover her practice is one which spans painting, sculpture and installation, bringing them together with an enviable ease and creating a visual presence that is keenly aestheticised to underscore Reena’s concerns as an individual, and an artist-citizen.  For her, the fragmented body has been a site for exploring issues of identity, belonging and nationalism, in turn referencing the geo-political body of a nation created in the wake of fragmentation.\r\n\r\nIn the exhibition “Rainbow of Refuse”, Reena furthers this exploration by addressing contentious issues such as those of aggression perpetrated by a nation under the guise of security and defense.  The universality of such a state and its local relevance, the historical precedence and its immediate presence, are only a few of the juxtapositions that she sets up in her work.  These in turn impel the viewer to reassess their original impressions and assumptions, to look more closely at the enticing visual, and see its latent meanings.  The beauty of the objects chosen is belied by their implicit violence; however the artist retrieves these as symbols, repositions them and even creates new ones along the way.  There is a resultant irony that runs through her work and leaves the viewer acutely aware of the fragility of the human condition in the face of the oppressive political forces at play.\r\n\r\nBodhi Art is delighted to present this powerful and nuanced exhibition of Reena Saini Kallat’s latest body of work.  We would also like to express ours thanks to Nancy Adajania for her insightful essay on Reena’s work in the current exhibition.  ‘Rainbow of Refuse” will be showcased at Bodhi Art, Mumbai and will then travel to Bodhi Art’s new space in Singapore.\r\n\r\nBodhi Art\r\n\r\nBelonging is a Necklace of Exclusions\r\n\r\nNancy Adajania\r\n\r\n‘Threads around the patient trunk of a peepul denote\r\nDivinity of sorts, a spirit to be worshipped.\r\n\r\nThread around the arm can mean love or luck,\r\nCan be a hope upraised to ward off the evil eye….’\r\n\r\n-Tabish Kahir, ‘Rope’ (1)\r\n\r\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\r\n\r\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\r\n\r\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\r\n\r\n… Threads around the wrist of a man recall\r\nThe knots of duty, the danger of forgetting.\r\n\r\nThreads over the shoulder proves one’s caste,\r\nThat belonging is a necklace of exclusions...\r\n\r\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\r\n\r\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\r\n\r\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\r\n\r\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\r\n\r\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\r\n\r\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines\r\nReena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\r\n\r\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\r\n\r\n..It is thus we thread the eye of time, trying\r\nIt down with strings which web from one life\r\n\r\nTo another. Who knows what all these threads hold ?\r\nWho knows what will cease to be when they unravel?…\r\n\r\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\r\n\r\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\r\n\r\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\r\n\r\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\r\n\r\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\r\n\r\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\r\n\r\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\r\n\r\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\r\n\r\nFor there is no one who has followed the thrown\r\nBall of string of our palimpsest past to its loose\r\n\r\nEnd, and returned to tell the tale.  No wonder we cut\r\nshort lengths of threads and strings: just enough\r\n\r\nTo circle neck or tree, not enough to circumambulate Life.\r\nRope around the neck means death.\r\n\r\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\r\n\r\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\r\n\r\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\r\n\r\nNotes:\r\n<ol>\r\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\r\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\r\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\r\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\r\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\r\n</ol>\r\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','inherit','open','open','','1269-revision-2','','','2010-06-18 08:21:38','2010-06-18 08:21:38','',1269,'http://www.biggventures.com/demo/artists/1439/uncat/1269-revision-2',0,'revision','',0),(1273,1,'2010-06-18 08:22:03','2010-06-18 08:22:03','<strong>Excerpt from a text written for a 3 person show by Grant Watson on Reena Kallat </strong>\r\n\r\nRed fabrics hang from floor to ceiling. Tie – dye, a textile technique that is elsewhere known for its exuberance, its hippy array of colours and spider web – like patterns, is here controlled, in a manner similar to that used by the artisans of Kutch. The tie – dye effect (where small segments of cloth are tied up so that they resist colour when immersed in a vat of dye) is reduced to a series of tiny dots, which appear across the lengths of fabric like a starry night sky. It is almost too obvious to point out the linguistic connection between textile and text, ‘the Latin word textum means web’  and put simply, in compositional terms, textiles often employ the repetition of small details, a dot, a squiggle, a paisley, or a flower repeated  to produce an all over effect not unlike writing. Of course we don’t read textiles like a book and textiles don’t communicate in the way that writing does, but traditionally the squiggles and the dots did mean something. Paisley for example was connected to fertility symbols. Textiles also reflect the cross currents of cultures as they interact, and so Chintz which was commissioned from Indian artisans by European traders, combines the demands of the metropolitan consumer with the vision and skill of the fabrics makers who substantially embellished the original commission. Textiles have also been indexically linked to art history, from the sumptuous drapery of baroque painting, to the soft sculptures of Robert Morris, taking in along the way Matisse, who described his extensive textile collection (which included North African hangings, embroideries and costumes as well as fabrics from Bali and China and traditional French textiles) as his working library.   \r\nReena Kallat’s red hangings draw on these various strands, going beyond textiles as artefacts and linking them to a wider frame of meaning: fabric design as proto – text, cloth as cultural signifier and textiles as objects in the context of art. Although here the connection between pattern and text is literal not suggestive, because if one was able to decipher them, the pattern of dots in Kallat’s hangings could be actually read as a text. They are in fact recipes, which have been translated into Braille and rendered onto the fabric. In doing this the artist draws up the fact that tie-dye is often three dimensional (as the sections which have been tied up and then untied to reveal areas free of colour, sometimes maintain a slight puckering effect) and here the dots could be read by running ones fingers over the cloth. Touching the cloth would also provide an entry into the hap tic of the work, its cultural references, the sensory world evoked by the choice of fabrics, in this case the world of childhood experiences -  Kallat lost her mother when she was eight and the dyed sari’s hanging on the walls, on which her mother’s recipes have been inscribed, are testament to the artist’s loss. Sari’s were amongst the fetish objects left behind. Others included photo albums, recipes, books, stuffed toys, cosmetics and bags, and here some of these elements are brought together in act of what Benjamin calls a ‘purposive remembering’  the work of recollection, the ‘weaving’  of memories in the face of a much more powerful forgetting that permanently threatens to dissolve those fragments from the past onto which we place such significance. Here, not only are these elements (linked to the artist’s mother) summoned into the present, they are also made manifest as a sort of public testimony to her loss and put on display, banner like, in the space of the gallery so that others can enter into this narrative. Functioning perhaps in a similar way to collective mourning, where the community not just the individual bears the brunt of the grief along with the responsibility of holding onto the memory of the departed. \r\nThe world which is described here, a narrative that includes the colours and textures of her mother’s clothing, her make up and accessories, the memory of her cooking and the toys that she made for her children, is a feminine world in the traditional sense, it is familial, interior and nurturing. Perhaps you could say that Kallat is a feminist artist, but here she does not critique this world, which is in some senses a stereotypical one, but instead presents us with a portrait, not a painted picture portrait, but a mis – en scene, a theatre of her memories which is both an archive and a fiction. What is recognisable within a tradition of feminist practice going back to the 1960s is a manoeuvre in which the artist, insisting on her right to acknowledge not only her position in relation to art history, but also her role as an individual existing within a web of relationships (mother/daughter/lover) places this material fore – square in the gallery. It is a manoeuvre which is by now familiar to audiences, who no longer question it’s legitimacy but see it as one avenue of expression amongst many others available to artists working today. \r\n','','','inherit','open','open','','1271-revision','','','2010-06-18 08:22:03','2010-06-18 08:22:03','',1271,'http://www.biggventures.com/demo/artists/1273/uncat/1271-revision',0,'revision','',0),(1274,1,'2010-06-18 08:23:50','2010-06-18 08:23:50','<strong>ORCHARD OF HOME-GROWN SECRETS:</strong>\r\n\r\nWorks by Reena Saini\r\n\r\nReena Saini’s art has come of age during an epoch in which Kalidasa’s Yaksha would be more likely to commit his missive of love and yearning to an e-mail server than a cloud; and Odysseus, were he alive today, would be more likely to spend the years of war and exile re-playing his recorded memories of Ithaca on the video than evoking the lost homeland in song.  In other words, Saini’s art must content with a frame of experience that has to a great extent replaced poetry with technology, and passionate engagement likewise with a remote-control surrogacy.\r\n\r\n\r\nBut let us not fall into the error of supposing that art can be defeated by change; change is the only arena in which are can test its range, extend its resources, transform itself.  The dominance of technology has summoned poets into a radical awareness of the word as disturbance; the torpid acceptance of surrogacy has provoked artists into an engagement with improvised gesture and mischievous, even shocking image: these are the styles we know as Conceptual Art.\r\n\r\nBut what are the lower-case conceptual options available to artists like Saini, who are not entirely comfortable with upper-case Conceptualism, with its sharply polemical stance and its insistence that the idea is the form? What are the formal choices exercised by an artist who still wishes to address the art-work as sensuous form, as a vehicle for mysterious and unsayable impulses rather than as an ideologically programmed device?\r\n\r\nLet me try and phrase this question in another way.  What can an artist do in a situation where are no longer aspires to the condition of mythology- that heightened awareness of loss, separation, distance and quest which once formed the vital psychological centre of society? Is it possible for artist to recover something of the grief, the melancholia, the exaltation germane to the mythological consciousness – without losing the ironic, playful finesse of the contemporary?\r\n\r\n\r\nThese are the dilemmas that Saini dramatises, with an accomplished sense of purpose, in her paintings and constructions.  Knowing that it no longer possible to enter the grand ruins of the temple of mythology, she assembles a mosaic of small myths instead.  It is her protect, after all, to find pictorial accommodation for memories that have no other home: for the great fish that was once the saviour of the world; for the column without beginning or end, that was the link between heaven and earth; for the house of the heart that stood wide as the sky.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nSaini’s works are cast, then, in the form of a fascinating interplay between the archetype and the novelty.  The flavours of present-day waking life are patterned here, across the archaic structures of experience that manifest themselves in dream and hallucination.  The effect is one of a fabulist’s magical continuity: the viewer enters a region where the spiral staircase is the path to the house of the gods and its column is the axis mundi, where the keyed-up mechanical toy is an impersonation of the self and Aladdin’s lamp is placed just out of reach of a hand that desires acquaintance with genies.\r\n\r\n\r\n\r\n\r\nAs with any post-mythological art, Saini’s underlying theme is that of belonging: the attempt to establish coherence between self and world.  She does not pretend that the attempt is anything but difficult; her studio is replete with surreal images of the all-too-human conditions of fallibility, error, weakness, bewilderment.  It is an intriguing array of hybrids that Saini offers us: the cloud floating above a dreamer stretched out on a park bench; the hand encased in a glove made form a map, its territorial ambitions belied by its evident delicacy; the Trojan horse that two children treat as a toy, oblivious to its capacity for treachery; the child in a conch-shell, a senigimatic as Vishnu, whom the sage sees as a cosmic infant in the Markandeya Purana.  Here, we can tune in to the echoes of the cloud-bell, observe the opening of the sky-flower’s petals.\r\n\r\n\r\n\r\nThe binary of home and world, not unnaturally, occupies a central place in this schema.  In a work like ‘Escapades of the Ladder Occupants’, for instance, Saini turns inside and outside around, questioning the distinctions we make between interior and landscape, private and public.  The questions that haunt this construction have haunted philosophy for centuries: Must the self-revel in schizophrenia, investing its emotions in spheres artificially separated by tact and reason?  Is a transparency of intention possible? Do acts and motives twine around each other like coupling serpents, or do they come apart like the halves of a broken ladder?\r\n\r\n\r\nAnother outcome of the post-mythological condition is the formal problem of containing the epic within the scope of the miniature.  In’ Joint Family’, a construction cast in the form of a house, Saini employs the trope of a family tree - which grows over the walls- to pack in multiple histories, private and public, ancient and modern, local and global.  This is a trail of clues rather than a rigorously detailed encyclopaedia: as we scan the leaves, we pick up a train, a light-bulb, the Buddha, the diagram of the yogic body with its splendid charkas, Leonardo’s ideal man measuring himself against the cosmos.  We scan the leaves again, as though they held the oracular answer to a riddle: we see a diver, or is he parachutist, or a tourist with his backpack?\r\n\r\n\r\n\r\n\r\n\r\nHere are energies of various kinds, and enlightenments: the Bodhisattva in the forest, Edison in his laboratory, the diver reaching for the pearl.  This quasi-allegorical narrative is as ‘global’ or ‘national’ in its mood as it is personal, even autobiographical.  In gently mocking the project of a universal history even in the act of tracing its outlines, Saini successfully draws our attention to the ongoing crisis of internationalism.  We are plagued by the knowledge that the alien and the intimate are not always opposites: the foreign is often closer to us than the native, the native is often more distant than the foreign. \r\n\r\n\r\nSaini’s use of the painting or construction as an envelope for diverse elements-elements which she has not yet configured into coherent relationships was first rehearsed two years ago, in tentative works like ‘Home, a Showcase for Culture’.  There, she was preoccupied with the rituals of possession, consumption and acquisition by which the affluent convince themselves of their success: the self is invested, finally and literally, in the sum total of the objects of its desire.\r\n\r\n\r\nThrough these works, there continuous the quest for an identity: a self-definition that Saini prefers to approach obliquely rather than with frontal bravado.  In the sequence of photographs, digitally printed on clear film and assembled as ‘Recital from the City Garden’, the artist presents us with the images of events performed like little rites.  We trace the fate of a choir of wax dolls, each holding a paper house or boat that is burnt.  It is a model of sati that we witness (morally and politically treacherous as the analogy is, it is appropriate) in which the artefact survives the loss of presence.  Like a song that has outlived the throat which first sang it, the sequence of photographs becomes a memorial to the precise, calculated violence that has become an endemic feature of our polity.\r\n\r\n\r\n\r\nBut Saini’s does not simply plunge us into despair; she also offers us metaphors of hope and emancipation.  There is the fish in ‘Reservoir’, its splotchy acrylic surface flagged with little pictures of taxis and mapped over as though buy latitude and longitude.  And juxtaposed with this paining, the fibreglass sculpture of a fish: an icon that is also an entertaining diversion, with a peephole cut into it, through which we see the inset of a smaller fish.  The comedy of the toy is lyric release, an affirmation that we can always find needles to puncture the monumental figures who overwhelm our minds.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nAnd there is that quintessential image of risk: the pyramidal palace of cards layered over with cement primer and sprinkled with cement, bearing the motifs of clasped hands and cloud-creepers, bowls of sweets and spiral shells.  Does life remain in suspense awaiting the draw, and does a fateful augury lie hidden in these innocuous pictures? Are these solemn rituals or are they spirited games?  Reena Saini seems to suggest that they can be both at once: for are not our lives a lila shaped by the play of paradoxical forces, of agency and structure, of necessity and chance? She has invited us into her orchard of home-grown secrets; we must now do her the courtesy of cultivating a taste for its fruits.\r\n\r\n\r\nRanjit Hoskote, Summer 1998  ','','','publish','open','open','','1274','','','2010-06-18 08:23:50','2010-06-18 08:23:50','',0,'http://www.biggventures.com/demo/artists/1274',0,'page','',0),(1275,1,'2010-06-18 07:50:24','2010-06-18 07:50:24','<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"85%\" align=\"centre\">\r\n<tbody>\r\n\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" title=\"Publications-2000-SKIN\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>SKIN</td>\r\n</tr><tr>\r\n<td>Year</td><td>2000</td>\r\n</tr><tr>\r\n<td>Description</td><td>Description about the publication</td>\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/publication-1\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n<tr>\r\n<td align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" width=\"270\" height=\"214\" class=\"aligncenter size-large wp-image-941\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\">\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Black Flute and Other Stories</td>\r\n</tr><tr>\r\n<td>Year</td><td>2008</td>\r\n</tr><tr>\r\n<td>Description</td><td>Description about the publication</td>\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/publication-1\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" title=\"Publications-The-Battlefield Is The Mind\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>The Battlefield Is The Mind</td>\r\n</tr><tr>\r\n<td>Year</td><td>2007</td>\r\n</tr><tr>\r\n<td>Description</td><td>Description about the publication</td>\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/publication-1\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" title=\"publications-Rainbow of Refuse\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Rainbow of Refuse</td>\r\n</tr><tr>\r\n<td>Year</td><td>2007</td>\r\n</tr><tr>\r\n<td>Description</td><td>Description about the publication</td>\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/publication-1\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" title=\"publications-Reena Saini Kallat\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Reena Saini Kallat</td>\r\n</tr><tr>\r\n<td>Year</td><td>2007</td>\r\n</tr><tr>\r\n<td>Description</td><td>Description about the publication</td>\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/publication-1\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" title=\"publications-Orchard ofHome grown Secrets\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Orchard ofHome grown Secrets</td>\r\n</tr><tr>\r\n<td>Year</td><td>2007</td>\r\n</tr><tr>\r\n<td>Description</td><td>Description about the publication</td>\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/publication-1\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n\r\n\r\n</table>\r\n</td>\r\n\r\n</tr>\r\n</tbody>\r\n</table>\r\n\r\n<!-- Start of Other Publications -->\r\n<!-- 		@page { size: 21cm 29.7cm; margin: 2cm } 		P { margin-bottom: 0.21cm } -->\r\n<h2 style=\"text-align: center;\">\r\n</h2>\r\n<em><strong>THE ARCHIVES OF THE HEART</strong></em>\r\n\r\nNancy Adajania, Indian Contemporaray Art Journal, Volume 1, Issue III,\r\n\r\nFront Cover, pgs 42-45, 2009\r\n\r\n<em><strong>GLOBALE KUNST MIT WURZELDUFT</strong></em>\r\n\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2<sup>nd</sup> September 2009\r\n\r\n<em><strong>LANDSCAPES OF LOSS</strong></em>\r\n\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009\r\n\r\n<em><strong>ARTIST OF THE FORTNIGHT</strong></em>\r\n\r\nMaria Louis, Outlook Profit, 24<sup>th</sup> July 2009\r\n\r\n<em><strong>REINCARNATING HISTORY</strong></em>\r\n\r\nThe big Picture, Architect and Interiors, July 2009\r\n\r\n<em><strong>STAMP COLLECTION</strong></em>\r\n\r\nGeorgina Maddox, The Sunday Express, 17<sup>th</sup> May 2009\r\n\r\n<em><strong>LOST AND FOUND</strong></em>\r\n\r\nMarina Correa, DNA, Mumbai, 22<sup>nd</sup> January, 2009\r\n\r\n<em><strong>EVOLVING BEYOND BORDERS</strong></em>\r\n\r\nReshma S. Kulkarni, Bombay times, The Times of India, 15<sup>th</sup> January, 2009\r\n\r\n<em><strong>QUARRIES AND ANSWERS</strong></em>\r\n\r\nReema Gehi, Hindustan Times Café, Mumbai, 24<sup>th</sup> December 2008\r\n\r\n<em><strong>DEJA VIEW</strong></em>\r\n\r\nTara Khilachand, Live Mint, 20<sup>th</sup> December 2008\r\n\r\n<em><strong>TERROR STRUCK</strong></em>\r\n\r\nMaria Louis, Outlook Profit, 26<sup>th</sup> December 2008\r\n\r\n<em><strong>NAME CALLING</strong></em>\r\n\r\nDeepanjana Pal, Timeout Mumbai, December 2008\r\n\r\n<em><strong>PAINTING A PROTEST</strong></em>\r\n\r\nSujata Chakrabarti, DNA After Hrs, 21st August 2008\r\n\r\n<em><strong>ARTIST OF THE FORTNIGHT</strong></em>\r\n\r\nMaria Louis, Outlook Profit, pg 79, April 2008\r\n\r\n<em><strong>FOCUS INDIA</strong></em>\r\n\r\nMegha Ralapati, Flash Art, pg 114, January February 2008\r\n\r\n<em><strong>QUARRYING THE PAST</strong></em>\r\n\r\nMaria Louis, Beautiful People, pg 145, March-April 2008\r\n\r\n<em><strong>COME TOGETHER RIGHT NOW</strong></em>\r\n\r\nReema Gehi, HT Café, 15<sup>th</sup> February 2008\r\n\r\n<em><strong>SUCH A LONG JOURNEY</strong></em>\r\n\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008\r\n\r\n<em><strong> </strong></em><em><strong>MORE THAN A WOMAN</strong></em>\r\n\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4<sup>th</sup> February 2008.\r\n\r\n<em><strong>ARTIST OF THE FORTNIGHT</strong></em>\r\n\r\nMaria Louis, Outlook, Profit, dated 18<sup>th</sup> April 2008.\r\n\r\n<em><strong></strong></em><em><strong>CORRUPTIONS OF POWER</strong></em>\r\n\r\nShiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs98-99, 2007\r\n\r\n<em><strong></strong></em><em><strong>POLITICAL CHAOS</strong></em>\r\n\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006\r\n\r\n<em><strong></strong></em><em><strong>OVER THE RAINBOW</strong></em>\r\n\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006\r\n\r\n<em><strong>HER CROWNING ACHIEVEMENT</strong></em>\r\n\r\nClara Chow, The Straits Times, 18<sup>th</sup> November, 2006\r\n\r\n<em><strong>RAINBOW OF REFUSE</strong></em>\r\n\r\nInside Outside Magazine, November 2006\r\n\r\n<em><strong>IN A STATE OF PERENNIAL SIEGE</strong></em>\r\n\r\nNancy Adajania, The Hindu, Hyderabad, 29<sup>th</sup> October, 2006\r\n\r\n<em><strong>WEAPONS OF MASS CONSTRUCTION</strong></em>\r\n\r\nRituparna Som, DNA After Hrs Mumbai, 9<sup>th</sup> October, 2006\r\n\r\n<em><strong>UNDER ATTACK</strong></em>\r\n\r\nGitanjali Dang, HT Mumbai, 22<sup>nd</sup> September 2006\r\n\r\n<em><strong>GUNS AND ROSES</strong></em>\r\n\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18<sup>th</sup> September 2006\r\n\r\n<em><strong>TIME TRAVELLER</strong></em>\r\n\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27<sup>th</sup> June 2006\r\n\r\n<em><strong>BEYOND FEMINISM</strong></em>\r\n\r\nMallika Advani, Elle Décor, pg 78-80, May 2006\r\n\r\n<em><strong>THE FLOWER AND THE SWORD</strong></em>\r\n\r\nGirish Shahane, pg 93, The Art News magazine of India, volume X issue I, 2004\r\n\r\n<em><strong>BLACK FLUTE</strong></em>\r\n\r\nInside Outside Magazine, pgs 36-37, November 2004\r\n\r\n<em><strong>INDIA’S TOP 100 ACHIEVERS</strong></em>\r\n\r\nSociety Magazine, pg 137, December 2004\r\n\r\n<em><strong>CAUGHT BETWEEN DEMONS</strong></em>\r\n\r\nNancy Adajania, The Hindu, 19<sup>th</sup> December 2004\r\n\r\n<em><strong>HARD COPY</strong></em>\r\n\r\nInside Outside, pgs 30-32, November 2003\r\n\r\n<em><strong>A HARD COPY OF FLUX</strong></em>\r\n\r\nSharmila Maiti, Calcutta Times, The Times of India, 3<sup>rd</sup> November 2003\r\n\r\n<em><strong>KALA GHODA GETS A HORSE</strong></em>\r\n\r\nJasmine Shah Varma, The List, Mid Day, 22<sup>nd</sup> October 2003\r\n\r\n<em><strong>METAPHORS OF CONTEMPORARY REALITIES</strong></em>\r\n\r\nSoumitra Das, The Telegraph, 31<sup>st</sup> October 2003\r\n\r\n<em><strong>EN REISE TIL INDIA</strong></em>\r\n\r\nHarald Flor, Dagbladet, Kultur, 2<sup>nd</sup> February 2003\r\n\r\n<em><strong>SIGNS OF RESISTANCE</strong></em>\r\n\r\nNancy Adajania, The Hindu, 5<sup>th</sup> January 2003\r\n\r\n<em><strong>OF THE GODDESS AND DEMON IN THE MIND</strong></em>\r\n\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5<sup>th</sup> January 2003\r\n\r\n<em><strong>EMPATHIC ANGER</strong></em>\r\n\r\nMarta Jakimowicz, Deccan Herald, 23<sup>rd</sup> December 2002\r\n\r\n<em><strong>MYSORE EK KHOJ</strong></em>\r\n\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27<sup>th</sup> October 2002\r\n\r\n<em><strong>DIFFERENT STROKES</strong></em>\r\n\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24<sup>th</sup> July, 2002\r\n\r\n<em><strong>CREATING TO DESTROY</strong></em>\r\n\r\nJasmine Shah Varma, The List, Mid Day, 22<sup>nd</sup> February 2002\r\n\r\n<em><strong>LINKING ISLANDS</strong></em>\r\n\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15<sup>th</sup> February 2002\r\n\r\n<em><strong>OF FAITH AND HUNGER</strong></em>\r\n\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000\r\n\r\n<em><strong>PARADOXICAL METAPHORS</strong></em>\r\n\r\nSanaya Pavri, Oomph Art, pgs 38-40 December 2000\r\n\r\n<em><strong>AN ARTIST’S WORLD: ROTI, MAKAAN &amp; ABSTRACT ART</strong></em>\r\n\r\nPoonam Goel, HT City, 23<sup>rd</sup> December 2000\r\n\r\n<em><strong>SCINTILLATING SKIN</strong></em>\r\n\r\nVaibhav Purandare, The Asian Age, 14<sup>th</sup> October 2000\r\n\r\n<em><strong>THE MURMUR OF SKIN</strong></em>\r\n\r\nNupur Mahajan, Bombay times, Times of India, 12<sup>th</sup> October 2000\r\n\r\n<em><strong>INSIDE OUT</strong></em>\r\n\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11<sup>th</sup> October 2000\r\n\r\n<em><strong>NOT JUST SKIN DEEP</strong></em>\r\n\r\nJasmine Shah Varma, The list, Mid-day, 4<sup>th</sup> October 2000\r\n\r\n<em><strong>INTERACTIVE MEDIUM</strong></em>\r\n\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998\r\n\r\n<em><strong>FARMING INTRIRUE</strong></em>\r\n\r\nJerry Pinto, The Times of India, Bombay Times, 3<sup>rd</sup> September 1998\r\n\r\n<em><strong>WITHIN YOU, WITHOUT YOU</strong></em>\r\n\r\nAnu Kumar, Indian Express, Express Newsline, 2<sup>nd</sup> September 1998\r\n\r\n<em><strong>DUAL TONES </strong></em>\r\n\r\nDnyaneshwar Nadkarni, Mid-day, 27<sup>th</sup> August 1998','Publications','','inherit','open','open','','87-revision-32','','','2010-06-18 07:50:24','2010-06-18 07:50:24','',87,'http://www.biggventures.com/demo/artists/1275/uncat/87-revision-32',0,'revision','',0),(1277,1,'2010-03-22 08:50:08','2010-03-22 08:50:08','[fpg id=\"1268480536_490x890_2006.xml\"]','2006','','inherit','open','open','','24-revision-6','','','2010-03-22 08:50:08','2010-03-22 08:50:08','',24,'http://www.biggventures.com/demo/artists/1277/uncat/24-revision-6',0,'revision','',0),(1276,1,'2010-06-18 08:26:03','2010-06-18 08:26:03','<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"85%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" title=\"publications-Reena Saini Kallat\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Reena Saini Kallat</td>\r\n</tr><tr>\r\n<td>Year</td><td>2008</td>\r\n</tr><tr>\r\n<!--<td>Description</td><td>Description about the publication</td>-->\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/reena-kallat\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" title=\"publications-Rainbow of Refuse\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Rainbow of Refuse</td>\r\n</tr><tr>\r\n<td>Year</td><td>2006</td>\r\n</tr><tr>\r\n<!--<td>Description</td><td>Description about the publication</td>-->\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/rainbow-of-refuse\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n<tr>\r\n<td align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" width=\"270\" height=\"214\" class=\"aligncenter size-large wp-image-941\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\">\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Black Flute and Other Stories</td>\r\n</tr><tr>\r\n<td>Year</td><td>2004</td>\r\n</tr><tr>\r\n<!--<td>Description</td><td>Description about the publication</td>-->\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/black-flute\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" title=\"Publications-The-Battlefield Is The Mind\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>The Battlefield Is The Mind</td>\r\n</tr><tr>\r\n<td>Year</td><td>2002</td>\r\n</tr><tr>\r\n<!--<td>Description</td><td>Description about the publication</td>-->\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/battlefield-of-mind\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" title=\"Publications-2000-SKIN\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>SKIN</td>\r\n</tr><tr>\r\n<td>Year</td><td>2000</td>\r\n</tr><tr>\r\n<!--<td>Description</td><td>Description about the publication</td>-->\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/skin\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n\r\n<tr>\r\n<td  align=\"centre\" valign=\"top\">\r\n<img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" title=\"publications-Orchard ofHome grown Secrets\" width=\"270\" height=\"214\" class=\"aligncenter size-full wp-image-939\" /></a></td>\r\n<td  align=\"centre\" valign=\"bottom\"><br/>\r\n<table width=100%>\r\n<tr>\r\n<td width=20%>Name</td><td>Orchard of Home-grown Secrets</td>\r\n</tr><tr>\r\n<td>Year</td><td>1998</td>\r\n</tr><tr>\r\n<!--<td>Description</td><td>Description about the publication</td>-->\r\n</tr><tr>\r\n<td><a href=\"http://www.reenakallat.com/orchard-of-home-grown-screts\">View Essay</a></td>\r\n</tr></table>\r\n</td>\r\n</tr>\r\n\r\n\r\n\r\n</table>\r\n</td>\r\n\r\n</tr>\r\n</tbody>\r\n</table>\r\n\r\n<!-- Start of Other Publications -->\r\n<!-- 		@page { size: 21cm 29.7cm; margin: 2cm } 		P { margin-bottom: 0.21cm } -->\r\n<h2 style=\"text-align: center;\">\r\n</h2>\r\n<em><strong>THE ARCHIVES OF THE HEART</strong></em>\r\n\r\nNancy Adajania, Indian Contemporaray Art Journal, Volume 1, Issue III,\r\n\r\nFront Cover, pgs 42-45, 2009\r\n\r\n<em><strong>GLOBALE KUNST MIT WURZELDUFT</strong></em>\r\n\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2<sup>nd</sup> September 2009\r\n\r\n<em><strong>LANDSCAPES OF LOSS</strong></em>\r\n\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009\r\n\r\n<em><strong>ARTIST OF THE FORTNIGHT</strong></em>\r\n\r\nMaria Louis, Outlook Profit, 24<sup>th</sup> July 2009\r\n\r\n<em><strong>REINCARNATING HISTORY</strong></em>\r\n\r\nThe big Picture, Architect and Interiors, July 2009\r\n\r\n<em><strong>STAMP COLLECTION</strong></em>\r\n\r\nGeorgina Maddox, The Sunday Express, 17<sup>th</sup> May 2009\r\n\r\n<em><strong>LOST AND FOUND</strong></em>\r\n\r\nMarina Correa, DNA, Mumbai, 22<sup>nd</sup> January, 2009\r\n\r\n<em><strong>EVOLVING BEYOND BORDERS</strong></em>\r\n\r\nReshma S. Kulkarni, Bombay times, The Times of India, 15<sup>th</sup> January, 2009\r\n\r\n<em><strong>QUARRIES AND ANSWERS</strong></em>\r\n\r\nReema Gehi, Hindustan Times Café, Mumbai, 24<sup>th</sup> December 2008\r\n\r\n<em><strong>DEJA VIEW</strong></em>\r\n\r\nTara Khilachand, Live Mint, 20<sup>th</sup> December 2008\r\n\r\n<em><strong>TERROR STRUCK</strong></em>\r\n\r\nMaria Louis, Outlook Profit, 26<sup>th</sup> December 2008\r\n\r\n<em><strong>NAME CALLING</strong></em>\r\n\r\nDeepanjana Pal, Timeout Mumbai, December 2008\r\n\r\n<em><strong>PAINTING A PROTEST</strong></em>\r\n\r\nSujata Chakrabarti, DNA After Hrs, 21st August 2008\r\n\r\n<em><strong>ARTIST OF THE FORTNIGHT</strong></em>\r\n\r\nMaria Louis, Outlook Profit, pg 79, April 2008\r\n\r\n<em><strong>FOCUS INDIA</strong></em>\r\n\r\nMegha Ralapati, Flash Art, pg 114, January February 2008\r\n\r\n<em><strong>QUARRYING THE PAST</strong></em>\r\n\r\nMaria Louis, Beautiful People, pg 145, March-April 2008\r\n\r\n<em><strong>COME TOGETHER RIGHT NOW</strong></em>\r\n\r\nReema Gehi, HT Café, 15<sup>th</sup> February 2008\r\n\r\n<em><strong>SUCH A LONG JOURNEY</strong></em>\r\n\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008\r\n\r\n<em><strong> </strong></em><em><strong>MORE THAN A WOMAN</strong></em>\r\n\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4<sup>th</sup> February 2008.\r\n\r\n<em><strong>ARTIST OF THE FORTNIGHT</strong></em>\r\n\r\nMaria Louis, Outlook, Profit, dated 18<sup>th</sup> April 2008.\r\n\r\n<em><strong></strong></em><em><strong>CORRUPTIONS OF POWER</strong></em>\r\n\r\nShiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs98-99, 2007\r\n\r\n<em><strong></strong></em><em><strong>POLITICAL CHAOS</strong></em>\r\n\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006\r\n\r\n<em><strong></strong></em><em><strong>OVER THE RAINBOW</strong></em>\r\n\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006\r\n\r\n<em><strong>HER CROWNING ACHIEVEMENT</strong></em>\r\n\r\nClara Chow, The Straits Times, 18<sup>th</sup> November, 2006\r\n\r\n<em><strong>RAINBOW OF REFUSE</strong></em>\r\n\r\nInside Outside Magazine, November 2006\r\n\r\n<em><strong>IN A STATE OF PERENNIAL SIEGE</strong></em>\r\n\r\nNancy Adajania, The Hindu, Hyderabad, 29<sup>th</sup> October, 2006\r\n\r\n<em><strong>WEAPONS OF MASS CONSTRUCTION</strong></em>\r\n\r\nRituparna Som, DNA After Hrs Mumbai, 9<sup>th</sup> October, 2006\r\n\r\n<em><strong>UNDER ATTACK</strong></em>\r\n\r\nGitanjali Dang, HT Mumbai, 22<sup>nd</sup> September 2006\r\n\r\n<em><strong>GUNS AND ROSES</strong></em>\r\n\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18<sup>th</sup> September 2006\r\n\r\n<em><strong>TIME TRAVELLER</strong></em>\r\n\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27<sup>th</sup> June 2006\r\n\r\n<em><strong>BEYOND FEMINISM</strong></em>\r\n\r\nMallika Advani, Elle Décor, pg 78-80, May 2006\r\n\r\n<em><strong>THE FLOWER AND THE SWORD</strong></em>\r\n\r\nGirish Shahane, pg 93, The Art News magazine of India, volume X issue I, 2004\r\n\r\n<em><strong>BLACK FLUTE</strong></em>\r\n\r\nInside Outside Magazine, pgs 36-37, November 2004\r\n\r\n<em><strong>INDIA’S TOP 100 ACHIEVERS</strong></em>\r\n\r\nSociety Magazine, pg 137, December 2004\r\n\r\n<em><strong>CAUGHT BETWEEN DEMONS</strong></em>\r\n\r\nNancy Adajania, The Hindu, 19<sup>th</sup> December 2004\r\n\r\n<em><strong>HARD COPY</strong></em>\r\n\r\nInside Outside, pgs 30-32, November 2003\r\n\r\n<em><strong>A HARD COPY OF FLUX</strong></em>\r\n\r\nSharmila Maiti, Calcutta Times, The Times of India, 3<sup>rd</sup> November 2003\r\n\r\n<em><strong>KALA GHODA GETS A HORSE</strong></em>\r\n\r\nJasmine Shah Varma, The List, Mid Day, 22<sup>nd</sup> October 2003\r\n\r\n<em><strong>METAPHORS OF CONTEMPORARY REALITIES</strong></em>\r\n\r\nSoumitra Das, The Telegraph, 31<sup>st</sup> October 2003\r\n\r\n<em><strong>EN REISE TIL INDIA</strong></em>\r\n\r\nHarald Flor, Dagbladet, Kultur, 2<sup>nd</sup> February 2003\r\n\r\n<em><strong>SIGNS OF RESISTANCE</strong></em>\r\n\r\nNancy Adajania, The Hindu, 5<sup>th</sup> January 2003\r\n\r\n<em><strong>OF THE GODDESS AND DEMON IN THE MIND</strong></em>\r\n\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5<sup>th</sup> January 2003\r\n\r\n<em><strong>EMPATHIC ANGER</strong></em>\r\n\r\nMarta Jakimowicz, Deccan Herald, 23<sup>rd</sup> December 2002\r\n\r\n<em><strong>MYSORE EK KHOJ</strong></em>\r\n\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27<sup>th</sup> October 2002\r\n\r\n<em><strong>DIFFERENT STROKES</strong></em>\r\n\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24<sup>th</sup> July, 2002\r\n\r\n<em><strong>CREATING TO DESTROY</strong></em>\r\n\r\nJasmine Shah Varma, The List, Mid Day, 22<sup>nd</sup> February 2002\r\n\r\n<em><strong>LINKING ISLANDS</strong></em>\r\n\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15<sup>th</sup> February 2002\r\n\r\n<em><strong>OF FAITH AND HUNGER</strong></em>\r\n\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000\r\n\r\n<em><strong>PARADOXICAL METAPHORS</strong></em>\r\n\r\nSanaya Pavri, Oomph Art, pgs 38-40 December 2000\r\n\r\n<em><strong>AN ARTIST’S WORLD: ROTI, MAKAAN &amp; ABSTRACT ART</strong></em>\r\n\r\nPoonam Goel, HT City, 23<sup>rd</sup> December 2000\r\n\r\n<em><strong>SCINTILLATING SKIN</strong></em>\r\n\r\nVaibhav Purandare, The Asian Age, 14<sup>th</sup> October 2000\r\n\r\n<em><strong>THE MURMUR OF SKIN</strong></em>\r\n\r\nNupur Mahajan, Bombay times, Times of India, 12<sup>th</sup> October 2000\r\n\r\n<em><strong>INSIDE OUT</strong></em>\r\n\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11<sup>th</sup> October 2000\r\n\r\n<em><strong>NOT JUST SKIN DEEP</strong></em>\r\n\r\nJasmine Shah Varma, The list, Mid-day, 4<sup>th</sup> October 2000\r\n\r\n<em><strong>INTERACTIVE MEDIUM</strong></em>\r\n\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998\r\n\r\n<em><strong>FARMING INTRIRUE</strong></em>\r\n\r\nJerry Pinto, The Times of India, Bombay Times, 3<sup>rd</sup> September 1998\r\n\r\n<em><strong>WITHIN YOU, WITHOUT YOU</strong></em>\r\n\r\nAnu Kumar, Indian Express, Express Newsline, 2<sup>nd</sup> September 1998\r\n\r\n<em><strong>DUAL TONES </strong></em>\r\n\r\nDnyaneshwar Nadkarni, Mid-day, 27<sup>th</sup> August 1998','Publications','','inherit','open','open','','87-revision-33','','','2010-06-18 08:26:03','2010-06-18 08:26:03','',87,'http://www.biggventures.com/demo/artists/1276/uncat/87-revision-33',0,'revision','',0),(1279,1,'2010-03-23 12:54:28','2010-03-23 12:54:28','Exhibition','Exhibition','','inherit','open','open','','251-revision-2','','','2010-03-23 12:54:28','2010-03-23 12:54:28','',251,'http://www.biggventures.com/demo/artists/1279/uncat/251-revision-2',0,'revision','',0),(1280,1,'2010-05-13 16:26:21','2010-05-13 16:26:21','','publication-1','','inherit','open','open','','1031-revision-2','','','2010-05-13 16:26:21','2010-05-13 16:26:21','',1031,'http://www.biggventures.com/demo/artists/1280/uncat/1031-revision-2',0,'revision','',0),(1281,1,'2010-05-13 16:28:51','2010-05-13 16:28:51','','publication-2','','inherit','open','open','','1033-revision-2','','','2010-05-13 16:28:51','2010-05-13 16:28:51','',1033,'http://www.biggventures.com/demo/artists/1281/uncat/1033-revision-2',0,'revision','',0),(1282,1,'2010-04-13 16:11:28','2010-04-13 16:11:28','<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\">First page of MOU (2007)\r\n\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/03/First-page-of-MOU.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/First-page-of-MOU-765x1024.jpg\" alt=\"First page of MOU\" title=\"First page of MOU\" width=\"600\" height=\"900\" class=\"aligncenter size-large wp-image-542\" /></a>\r\n</td>\r\n\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<h2 class=\"painting\">First page of MOU\r\n</h2>\r\n<h3 class=\"canvas\">\r\n<span class=\"painting\">2007\r\n</span></h3>\r\n</td>\r\nFirst page of MOU Description\r\n</tr>\r\n</tbody>\r\n</table>','First page of MOU (detailed info)','','inherit','open','open','','543-revision-3','','','2010-04-13 16:11:28','2010-04-13 16:11:28','',543,'http://www.biggventures.com/demo/artists/1282/uncat/543-revision-3',0,'revision','',0),(1283,1,'2010-04-22 08:41:29','2010-04-22 08:41:29','<span style=\"text-decoration: underline;\"><a title=\"2006 DNA Interview\" href=\"http://www.reenakallat.com/publications/interviews/2006-dna-interview\" target=\"_self\"><span class=\"wpGallery\">2006 D.N.A. Interview</span></a></span>\r\n\r\n<span style=\"text-decoration: underline;\"><a title=\"Khoj Interview\" href=\"http://www.reenakallat.com/publications/interviews/khoj-interview\" target=\"_self\">Khoj Interview</a></span>\r\n\r\n<span style=\"text-decoration: underline;\"><a title=\"Verve Magazine\" href=\"http://www.reenakallat.com/publications/interviews/verve-magazine\" target=\"_self\">Q and A for Verve Magazine</a></span>','Interviews','','inherit','open','open','','184-revision-5','','','2010-04-22 08:41:29','2010-04-22 08:41:29','',184,'http://www.biggventures.com/demo/artists/1283/uncat/184-revision-5',0,'revision','',0),(1284,1,'2010-04-22 08:38:00','2010-04-22 08:38:00','<em><strong>1. Could you tell us in your own words what your current exhibition is about?</strong></em>\r\nThe current exhibition titled \'Rainbow Of Refuse\' is meant to evoke a whole range of responses from the seductive to the dreadful. It explores the myths and realities of war; associated with courage and national pride on the one hand and the resultant waste it generates on the other, whether it has to do with the loss of human lives or the destruction of property. Broadly, the work reflects on the institutionalisation of violence and attempts to critique these dehumanising institutions that have a stong bearing on our\r\nexistence by foregrounding the fragility of the human condtion.\r\n\r\n<em><strong>2. Why is the British Raj such an integral part? What makes it relevant even today?</strong></em>\r\nWe cannot wish away the history of colonisation and the impact the imperial powers left behind. \"Memoria Corona\" is modelled on the crown of the queen of England, queen Elizabeth II, that carries the Kohinoor, the most precious diamond we lost to the British Empire. The surface of this sculpture is completely covered with names of freedom fighters almost like a memorial to those who fought the freedom struggle.  By evoking the loss of human lives I wanted the crown to carry the weight of these other precious treasures we lost to the empire.\r\n\r\n<em><strong>3. Such an exhibition is so multifaceted - there are so many components to it - do you feel it might be difficult for people to take it all in in one go? Or are you expecting people to take in one thing at a time/one concept at a time?</strong></em>\r\nArt works do unexpected things to different people. A lot of meanings are implied and not overtly stated. Some might find one thing interesting while others might carry questions on others. The idea is to try and stimulate the imagination rather than provide conclusions.\r\n\r\n<em><strong>4. Is there a particular incident that you associate with the germination of this idea? Something that happened, something you read, something you saw or something someone said?</strong></em>\r\nI\'m fascinated by the beautiful illustrations in the Razmnama, translations of the Mahabharat in Persian made as an attempt to try and understand these texts during the time of Akbar. The demon drawings that recur in my paintings are sourced both from here and the Pahari miniatures, where Durga is often shown slaying the asuras   Although meant to be demonic the form seems endearing at the same time, in some ways reflecting that not everything can be clearly defined as black and white. We often demonise the\r\nother simply to safeguard our own interests whether nationalistic, religious etc.\r\n\r\n<em><strong>5. As an exhibition with so many facets - which one is your \'favourite\' or which part is the most pertinent for you?</strong></em>\r\nSince the works are inter-related, each plays an integral role in understanding the many dimensions of the exhibition as a whole. But the two multi-part paintings titled \'Xylophone-I\' and \'Xylophone-II\' have been challenging pieces within my own practice and I have wanted to attempt them since the last four years. Structured to collectively form the human ribcage, they comprise of swords in one case and guns in the other. These\r\n\r\nlife-threatening weapons act as an armour, just like the ribcage forms a protective covering to the lungs and the heart. What interests me is how we legitimise the use of violence by justifying it in the name of self-defence.\r\n\r\n<em><strong>6. Is there a personal experience attached with what you\'re trying to say?</strong></em>\r\nMy work is not necessarily a reflection of my immediate personal/domestic surrounding but the world around me.\r\n\r\n<em><strong>7. Is this a vision of our country you are comfortable with exhibiting abroad?</strong></em>\r\nI think my work attempts to unravel the contradictions and complexities of\r\nour existence in contemporary society and its many layers. I would hope to\r\nconvey it truthfully no matter where the work gets shown.\r\n\r\n<em><strong>8. Do you go through some kind of emotional process when you\'re preparing your work? If so, what kind of process is it?</strong></em>\r\nI undoubtedly get affected by what I see or hear around me in society at large and sometimes I like to analyse these experiences through my work.\r\n\r\n<em><strong>9. What are your plans for this exhibition? Will you be sending it abroad? If so, where and when?</strong></em>\r\nThis exhibition travels to Bodhi Art Gallery, Singapore late October. A couple of sculptures part of this exhibition titled \"Memoria Corona\" and \"Penumbra\" which are in edition are currently showing at Arario Gallery, Beijing along with a monumental painting.\r\n\r\n<em><strong>10. What are you currently involved in?</strong></em>\r\nSoon I leave for France for a large exhibition of Indian Art, in Lille. But as far as my next set of pieces are concerned, I have conceptualised two or three bodies of work I\'m excited to pursue making; trying very hard for my hand to keep pace with my mind.','2006 D.N.A. Interview','','inherit','open','open','','638-revision-4','','','2010-04-22 08:38:00','2010-04-22 08:38:00','',638,'http://www.biggventures.com/demo/artists/1284/uncat/638-revision-4',0,'revision','',0),(1285,1,'2010-04-22 08:21:36','2010-04-22 08:21:36','<!-- 		@page { size: 21cm 29.7cm; margin: 2cm } 		P { margin-bottom: 0cm } 		P.western { font-family: \"Arial\", sans-serif; so-language: en-US; font-weight: bold } 		P.cjk { font-family: \"Times New Roman\", serif; font-weight: bold } --> <!-- 		@page { size: 21cm 29.7cm; margin: 2cm } 		H4 { margin-top: 0cm; margin-bottom: 0cm; line-height: 150% } 		H4.western { font-family: \"Helvetica\", sans-serif; font-size: 14pt } 		H4.cjk { font-family: \"DejaVu Sans\"; font-size: 14pt } 		H4.ctl { font-family: \"DejaVu Sans\"; font-size: 12pt; font-weight: medium } 		P { margin-bottom: 0.21cm } -->\r\n<h2 style=\"text-align: center;\">Reena Saini Kallat by Shilpa Gupta</h2>\r\n<em><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\"><strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In </strong><strong>Penumbra Passage (Canine Cases)</strong><strong>, from 2007,</strong><strong> </strong><strong>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in </strong><strong>Pulse 30</strong><strong>,</strong><strong> </strong><strong>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach?</strong></span></span></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Yes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region. </span></span>\r\n\r\n<em><strong><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</span></span></strong></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">I use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.</span></span>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Besides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.</span></span>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\"><em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.</span></span>\r\n\r\n<em><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\"><strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong></span></span></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">At any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.</span></span>\r\n\r\n<em><strong><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Has there been a clear evolution from one media/form to another or have you jumped about?</span></span></strong></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">I have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea. </span></span>\r\n\r\n<em><strong><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Where does your interest in storytelling come from? Do you have a favourite story?</span></span></strong></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">We’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture. </span></span>\r\n\r\n<a name=\"OLE_LINK1\"></a> <span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Among the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.</span></span>\r\n\r\n<em><strong><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</span></span></strong></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Art has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.</span></span>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Just as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts. </span></span>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\"><strong><em>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify?</em> </strong></span></span>\r\n<p lang=\"en-US\"><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">They have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.</span></span></p>\r\n<p lang=\"en-US\"></p>\r\n<p lang=\"en-US\"><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">In a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.</span></span></p>\r\n<p lang=\"en-US\"></p>\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">In <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky. </span></span>\r\n\r\n<em><strong><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Why do you use POK – Pakistan Occupied Kashmir – as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</span></span></strong></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">My father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history. </span></span>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">Pakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.</span></span>\r\n\r\n<em><strong><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</span></span></strong></em>\r\n\r\n<span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">I think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.</span></span>','Khoj Interview','','inherit','open','open','','640-revision-4','','','2010-04-22 08:21:36','2010-04-22 08:21:36','',640,'http://www.biggventures.com/demo/artists/1285/uncat/640-revision-4',0,'revision','',0),(1286,1,'2010-04-22 08:14:01','2010-04-22 08:14:01','<h2 style=\"text-align: center;\">Q &amp; A for Verve with Maria Louis</h2>\r\n<em><strong>1. Why have you called your latest collection of works, displayed at the Bodhi Art Gallery, \"Rainbow of Refuse\"? (The title seems to be a contradiction of terms, juxtaposing as it does the exquisite with the obnoxious.)</strong></em>\r\nThe exhibition itself is meant to evoke a whole range of responses, from the seductive to the dreadful. It touches upon the myths and realities of war; that have to do with notions of courage, patriotism, power and the resultant waste it generates i.e. the loss of human lives, property etc.\r\n\r\n<em><strong>2. You have been toying with symbols of violence and destruction in your work over the past decade. What are the reasons that have sustained this preoccupation?</strong></em>\r\n\r\nSome of my pieces refer to the sort of institutionalised violence we are facing and the work is meant to be a critique of those de-humanising institutions and their effect on our existence. I\'m interested in the fragility of the human condition.\r\n\r\n<em><strong>3. Are your paintings and sculptural installations meant to be didactic... or are you labouring the same point to clarify your own stance about the social, political and economic forces at play?</strong></em>\r\n\r\nI do not seek to be didactic through my practice/work but I do believe that good literature, cinema like art have the capacity to mould/ alter perceptions. I repeatedly explore certain themes in my work but each time they take on a new form. For instance, I have made paintings in the past with swords and daggers carrying life-affirming forms as embellishments on their handles, paradoxical to the function of these objects. In case of the paintings in this show titled, \'Xylophone-1\' and \'Xylophone-2\' large muti-part paintings forming the human ribcage, one with swords and the other with guns, life-threatening weapons act as an armour just like the ribcage forms a protective covering to the lungs and the heart. What interests me is how we legitimise the use of violence by justifying it in the name of self defense.\r\n\r\n<em><strong>4. In the light of the fact that you have conceived a collection of manufactured objects that illustrate what you want to say, would you still call yourself primarily a painter? If not, what would you call yourself?</strong></em>\r\n\r\nI have always enjoyed keeping my mind open to working with mediums and methods that would aid communicating an idea appropriately. A large part of my practise comprises of painting and hence I still see myself primarily as a painter, although a lot more work ahead coming from me is in the form of sculptural assemblages.\r\n\r\n<em><strong>5. Do you find that the essence of your artistic vision gets diluted by virtue of the fact that others are involved in the creation of your masterpieces? Why? Why not?</strong></em>\r\n\r\nI think technical inputs in the realisation of an idea have only enhanced it\'s effectiveness, whether it is in case of an architect or a movie director.\r\n\r\n<em><strong>6. Finally, how would you describe your role as a contemporary Indian artist?</strong></em>\r\n\r\nI see myself as someone who is simultaneously influenced and inspired by my surroundings, circumstances; by which I don\'t necessarily imply my personal life but the lives of people at large in society. As an artist I would want to be alert to what characterises our situation from that of the rest of the world. I would hope to play a small role in arriving at a better understanding of other cultures we live with, and being more accepting/appreciative of our differences.','Verve Magazine','','inherit','open','open','','642-revision-4','','','2010-04-22 08:14:01','2010-04-22 08:14:01','',642,'http://www.biggventures.com/demo/artists/1286/uncat/642-revision-4',0,'revision','',0),(1287,1,'2010-03-23 08:58:56','2010-03-23 08:58:56','Catalog','Catalog','','inherit','open','open','','187-revision-2','','','2010-03-23 08:58:56','2010-03-23 08:58:56','',187,'http://www.biggventures.com/demo/artists/1287/uncat/187-revision-2',0,'revision','',0),(1288,1,'2010-03-23 08:56:57','2010-03-23 08:56:57','Essays','Essays','','inherit','open','open','','182-revision-2','','','2010-03-23 08:56:57','2010-03-23 08:56:57','',182,'http://www.biggventures.com/demo/artists/1288/uncat/182-revision-2',0,'revision','',0);
INSERT INTO `wp_posts` VALUES (1289,1,'2017-04-10 10:49:42','2017-04-10 10:49:42','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 drawing, photography, sculpture and video engages diverse materials, imbued with conceptual underpinnings. She is interested in the role that memory plays, in not only what we choose to remember but also how we think of the past. Using the motif of the rubberstamp both as object and imprint, signifying the bureaucratic apparatus, Kallat has worked 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. In her works made with electrical cables, wires usually serving as conduits of contact that transmit ideas and information, become painstakingly woven entanglements that morph into barbed wires like barriers. Her ongoing series using salt as a medium explores the tenuous yet intrinsic relationship between the body and the oceans, highlighting the fragility and unpredictability of existence.\n\nShe has widely exhibited at Institutions across the world such as Museum of Modern Art (MOMA), New York; Mori Art Museum, Tokyo; Kennedy Centre, Washington; Vancouver Art Gallery;  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 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; Kunsthaus Langenthal, Switzerland; Chicago Cultural Centre amongst many others. She lives and works in Mumbai.\n\nHer works are part of several public and private collections including the National Taiwan Museum of Fine Arts, Taiwan; Vancouver Art Gallery, Canada; Initial Access (Frank Cohen Collection), UK; Fondazione Golinelli, Italy; Bhaudaji Lad Museum, Mumbai; National Gallery of Modern Art, New Delhi; Devi Art Foundation, New Delhi; Saatchi Gallery, London; Tiroche DeLeon Collection, Israel; Pizzuti Collection, Ohio; Ermenegildo Zegna Group, Italy; JSW Foundation, Mumbai, Burger Collection, Hongkong; Kiran Nadar Museum of Art, New Delhi amongst others.\n\n<table>\n<tbody>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Porous Passages, Nature Morte, New Delhi </td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/Reena-Kallat-hyphenated-lives-2015-forthcoming-show/\" target=\"_blank\">Hyphenated Lives, Chemould Prescott Road, Mumbai<span style=\"color: red;\"> &gt;&gt; </span><a>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td><a class=\"linkbio\" href=\"https://www.vanartgallery.bc.ca/the_exhibitions/exhibit_sainikallat.html\" target=\"_blank\">Offsite, Public Art Project, Vancouver Art Gallery</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>Anatomy of forking paths, Art Houz, during Art Chennai</td>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td><a class=\"linkbio\" href=\"http://www.kennedy-center.org/events/?event=ZLINB\" target=\"_blank\">Falling Fables, Maximum India at the Kennedy Centre, Washington </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/exhibitions/press_release/delhi/past/364\" target=\"_blank\">Labyrinth of Absences, Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td><a class=\"linkbio\" href=\"http://gallerychemould.com/exhibitions/reena-show-2008/\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\n<td>Rainbow Of Refuse, Bodhi Art Gallery, Mumbai and Singapore</td>\n<td><em> </em></td>\n</tr>\n<tr>\n<td valign=\"top\">2005</td>\n<td>Black Flute (And Other Stories), Nature Morte, New Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">2004</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td>The Battlefield Is The Mind, Sakshi Gallery, Bangalore</td>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td>Seven Faces of Dust, Chicago Radio, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2000</td>\n<td>Skin, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">1998</td>\n<td>Orchard of Home-grown Secrets, Gallery Chemould and Pundole  Art Gallery, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td colspan=\"2\"><span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2017</td>\n<td><a class=\"linkbio\" href=\"https://www.nyush-gallery.org/borders-us-and-them\" target=\"_blank\" >Borders: Us and Them, curated by Qian Lin, NYU Shanghai Art Gallery, China <span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2017</td>\n<td><a class=\"linkbio\" href=\"https://pizzuticollection.org/exhibitions/\" target=\"_blank\" >Transforming Vision: 21st century art from the Pizzuti Collection, Pizzuti Collection, Columbus, Ohio<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td><a class=\"linkbio\" href=\"https://medium.com/insecurities/woven-chronicle-e494ea66e782#.s05p5qtyx\" target=\"_blank\" >Insecurities: tracing Displacement and Shelter, organized by Sean Anderson and Ariele Dionne-Krosnick, The Museum of Modern Art (MOMA), New York <span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td><a class=\"linkbio\" href=\"http://busanbiennale.org/english/sub01/03_view_2015.php?no=314&wr_3=&sfl=&stx=&sop=&sca=&type=2&page=3\" target=\"_blank\"> Hybridizing Earth, Discussing Multitude, 10th Busan Biennale, curated by Cheagab Yun, Kiswire Suyeong factory, Busan, \nSouth Korea<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>Conceiving Space, Colombo Art Biennial, curated by Alnoor Mitha, Sri Lanka</td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>Make a Change, curated by Torun Ekstrand, Cultural Ronneby, Sweden</td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>Tabiyat: Medicine and Healing in India, curated by Ratan Vaswani, CSMVS (Chhatrapati Shivaji Maharaj Vastu Sangrahalaya), Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>The Eye and The Mind: New Interventions in Indian Art, NGMA- Jaipur House, New Delhi</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n\n<tr>\n<td valign=\"top\">2015</td>\n<td>The Eye and The Mind: New Interventions in Indian Art, Minsheng Art Museum, Beijing</td>\n</tr>\n\n<tr>\n<td valign=\"top\">2015</td>\n<td>Aperture, Indian Summer Festival, Old Canadian Pacific Railway Station, Vancouver</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>The Eye and The Mind: New Interventions in Indian Art, China Art Museum, Shanghai</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/A-Summer-Mix-Artists-from-Chemould-Prescott-2015/\" target=\"_blank\">A Summer Mix, Chemould Prescott Road, Mumbai<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>One and one make eleven (Contemporary Art From India), Kunsthaus Langenthal, Switzerland</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>The Eye and The Mind: New Interventions in Indian Art, Guangdong Museum of Art, Guangzhou, China</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>[en]counters 2015, Spaces in Transition, CST Terminus, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Kalaghoda Art Festival, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>Off the wall, Sir. J.J. School of Art, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>India: Maximum City, St. Moritz Art Masters, Switzerland</td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>Encounters:- Is There Love in This Air?, Cattle depot, C &amp; G ArtPartment, Hong Kong</td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/aesthetic-bind-cabinet-closet-wunderkammer/\" target=\"_blank\">Aesthetic Bind: Floating World, Chemould Prescott Road, Mumbai<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td><a class=\"linkbio\" href=\"http://www.sahmatnews.blogspot.in/2014/02/forms-of-activism-24th-feb-to-1st-march.html\" target=\"_blank\">Forms of Activism, exhibition marking 25 years of SAHMAT at the Lalit Kala Akademi galleries, Rabindra bhavan, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td><a class=\"linkbio\" href=\"http://www.artoxygen.org/wp-content/uploads/2014/140218_Program_isthereloveinthisair2014.pdf\" target=\"_blank\">Encounters 2014 - Is there love in the air?, Public project with Art Oxygen in Mumbai<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\n<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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\n<td>JJ’s 90s - The Time of Change, Sir J.J. School of Art, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>India Today, ARKEN Museum of Modern Art, Copenhagen, Denmark</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>The Indian Parallax or the Doubling of Happiness, Birla Academy of Art and Culture, Kolkata</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>WONDERS – Masterpieces from Private Collections, Denmark</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td><a class=\"linkbio\" href=\"http://www.eigen-art.com/lab/index.php?article_id=804&amp;clang=1\" target=\"_blank\">Group show, Eigen + Art Lab, Berlin<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>India Side by Side,SESC Belenzino, Sao Paulo, Brazil</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>To Let the World In: Narrative and Beyond in Contemporary Indian Art, Lalit Kala Regional Centre, Chennai, India</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>The Contemporary Sultanate, the Sunrydge, New Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>Kalaghoda Art Festival, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\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>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>India Side by Side, Centro Cultural Banco do Brasil, Rio De Janeiro</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Giant Elephant : Contemporary Art from India, H Cube Gallery, Seoul</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Roundabout, Tel Aviv Museum of Art, Israel<span style=\"color: red;\"> </span></td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td><a class=\"linkbio\" href=\"http://www.konsthallen.goteborg.se/prod/kultur/konsthallen/dalis2.nsf/535e371e7fd657aec1256a5c0045675f/22123a2342203237c125794a003704ed!OpenDocument\" 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>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Right to Dissent, Clark House, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>RED, Palette Art Gallery, Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Of Gods and Goddesses, Cinema, Cricket - The New cultural Icons of India, Jehangir Art Gallery, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\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></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Iconoclasts and Iconodules, curated by Ombretta Argo, Religare Art Gallery, New  Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\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></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>The Intuitive: Logic Revisted, from the Osians Collection at The World Economic Forum, Davos, Switzerland</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\n<td><a class=\"linkbio\" href=\"http://kulturhuset.stockholm.se/\" target=\"_blank\">Samtidigt, Kulterhuset, Stockholm</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\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>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\n<td>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\n<td>Milan Galleria, curated by Georgio Verzotti, Triennale Museum, Milan</td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\n<td>Ventosul Biennale, Curitiba, Brazil</td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\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>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain</td>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>3<sup>rd</sup> Nanjing Triennale, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China</td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea</td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>Excavation: Memory / Myth / Membrane, Museum Gallery, Mumbai</td>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\n<td>International Incheon Women Artists’ Biennale, Korea</td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\n<td>Soft Power: Asian Attitude, Shanghai Zendai Museum of Modern Art, Shanghai</td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\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>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\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 at Spazio Oberdan, \nMilan<span style=\"color: red;\"> &gt;&gt; </span></a></td></tr>\n<td valign=\"top\">2007</td>\n<td>New Narratives: Contemporary Art From India, curated by Betty Seid, Chicago Cultural Centre, Chicago</td>\n<td><em> </em></td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\n<td>Thermocline Of Art- New Asian Waves, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\n<td>Modern Indian Works On Paper, Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA</td>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\n<td>Lille 3000 (Maximum City-Mumbai), Lille,  France</td>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\n<td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</td>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\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>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2005</td>\n<td>Mom and Pop Art, Walsh Gallery, Chicago</td>\n</tr>\n<tr>\n<td valign=\"top\">2005</td>\n<td>Span, Sakshi Gallery, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2005</td>\n<td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2004</td>\n<td><em> </em>Contemporary Art from India, Thomas   Erben Gallery, New York</td>\n</tr>\n<tr>\n<td valign=\"top\">2004</td>\n<td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td>Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td><em> </em>Hard Copy, two-person show with Jitish Kallat, Gallery 88, Calcutta</td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td>Tiranga, curator: Peter Nagy, India Habitat Centre, New Delhi</td>\n<td><em> </em></td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td>The Tree From The Seed, Contemporary Art from India, curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td>\n<td><em> </em></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td>Crossing Borders, Gallery Windkracht 13, Den Helder, Holland</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2001</td>\n<td>Big River 2, CCA7 Gallery, Port Of Spain, Trinidad</td>\n</tr>\n<tr>\n<td valign=\"top\">2001</td>\n<td>AOM- Art on the move, organized by Sahmat, New Delhi</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">1999</td>\n<td><em> </em>Edge of the Century, curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">1998</td>\n<td><em> </em>Essays in Time, Kinetic Sculptures, Nehru Centre, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">1997</td>\n<td><em> </em>India in Harmony 1947-1997, Nehru Centre, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">1997</td>\n<td><em> </em>A Page From My Diary, Sans Tache Art Gallery, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">1997</td>\n<td><em> </em>Fresh Work, Birla Academy of Art and Culture, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">1996</td>\n<td><em> </em>Monsoon Show, Jehangir Art Gallery, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">1995</td>\n<td><em> </em>Varsha ’95, Y. B. Chavan Gallery, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>Visas to Happiness - 3, workshop with children at the 2014 Dhaka Art Summit, Bangladesh</td>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>Visas to Happiness, workshop with children as part of the exhibition \'To Let the World In\', Chennai</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Iaspis Residency, Gothenburg, Sweden.</td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\n<td>Vanishing Point, children’s project at the Celebrate Bandra Festival, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\n<td>Collaborative workshop as part of the exhibition Aftershock, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK</td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td>Elephant Walks, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia</td>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td>Khoj 2002 International Artists Workshop, Mysore, India</td>\n</tr>\n<tr>\n<td valign=\"top\">2002</td>\n<td>Identity and Landscape, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada</td>\n</tr>\n<tr>\n<td valign=\"top\">2001</td>\n<td>Big River 2, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td><span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2017</td>\n<td><a class=\"linkbio\" href=\"https://www.youtube.com/watch?v=fQyIa2BwoRg\" target=\"_blank\" >Citizens and Borders: Migration and Displacement, panel discussion with Reena Saini Kallat, Tania Bruguera and Tiffany Chung in conversation with Sean Anderson at the Jaipur Literature Festival; presented by MOMA<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2017</td>\n<td><a class=\"linkbio\" href=\"https://www.nyush-gallery.org/gallerytalkkallat\" target=\"_blank\" >Artist talk at NYU Shanghai Gallery, China	<span style=\"color: red;\"> &gt;&gt; </span></a></td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>Artist talk with the C-MAP session at the Museum of Modern Art (MOMA), New York</td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>Artist talk with the Chicago Collectors Circle (CCC) at the Art Institute of Chicago (AIC), Chicago</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Walkthrough \'Hyphenated Lives\', Reena Kallat and Nancy Adajania at Chemould Prescott Road, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Artists talk at Vancouver Art Gallery, Canada</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Mumbai Local: Ideas and the Artist in collaboration with Junoon, Mcubed library, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Artists talk at CSMVS (former Prince of Wales Museum), Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Artists panel at Asian Contemporary Art Week (ACAW), FIELD MEETING Take 2: An afterthought in Venice</td>\n</tr>\n<tr>\n<td valign=\"top\">2015</td>\n<td>Artists Talk at \'What About Art?\', Arts management agency, in collaboration with ArtOxyen, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>Artists talk at Asia Society, during the Asian Contemporary Art Week in New York</td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>Moving Millimeter: Talk by Reena Kallat for Mumbai Local, Bhaudaji Lad Museum, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2014</td>\n<td>\'Meet the Artist\' session for the students from South Asia Inter School Association (SAISA), Art Festival hosted by the American School of Bombay</td>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2013</td>\n<td>\'Rendezvous with the Artist\' series by Asia Society at the artists studio in Mumbai, sponsored by Christies.</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>Artists Talk at the World Economic Forum, Tianjin</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\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>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Artists Talk at GIBCA Speak Easy (GSE), Goteborg</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Informal talk at HDK – The School of Design and Crafts, Goteborg</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Artists Talk at the Iaspis Residency Studio, Stockholm</td>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\n<td>Short presentation as part of The River Project at The Campbelltown Arts Centre, Sydney</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>Artists Talk at the Krishnakriti Festival 2011, Kalakriti Gallery, Hyderabad</td>\n</tr>\n<tr>\n<td valign=\"top\">2010</td>\n<td>Panel discussion moderated by Maria Lantz, with participating artists during the exhibition Samtidigt at Kulturhuset, Stockholm</td>\n</tr>\n<tr>\n<td valign=\"top\">2009</td>\n<td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna</td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2008</td>\n<td>Slide presentation at the School of the Art Institute of Chicago</td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\n<td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre</td>\n</tr>\n<tr>\n<td valign=\"top\">2007</td>\n<td>Lecture at the University Boccini, Milan</td>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\n<td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA</td>\n</tr>\n<tr>\n<td valign=\"top\">2006</td>\n<td>Artists Talk at the Griffith Auditorium, Georgia Museum of Art, USA</td>\n</tr>\n<tr>\n<td valign=\"top\">2003</td>\n<td>Slide presentation at Oslo National Academy of the Arts, Norway</td>\n</tr>\n<tr>\n<td valign=\"top\">2000</td>\n<td>Slide presentation at Mohile Parikh Centre for the Visual Arts, Mumbai</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">AWARDS</span></strong></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td valign=\"top\">2016</td>\n<td>Zee: Indian Women Awards in Arts & Culture category, Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">2012</td>\n<td>ZegnArt Public Award in collaboration with Dr. Bhaudaji Lad Museum, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">2011</td>\n<td>YFLO ZOYA Young Women Achievers Awards 2010-11, Delhi</td>\n</tr>\n<tr>\n<td valign=\"top\">2005</td>\n<td>Harmony Award, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">1996</td>\n<td>Bombay Art Society Merit Certificate, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">1996</td>\n<td>Second Prize Government Award, Sir J. J. School of Art, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">1995</td>\n<td>Gladstone Solomon Award, Mumbai</td>\n</tr>\n<tr>\n<td valign=\"top\">1991-1996</td>\n<td>Merit Scholarship, Sir J. J. School of Art, Mumbai</td>\n</tr>\n</tbody>\n</table>','Biography','','inherit','open','open','','105-autosave','','','2017-04-10 10:49:42','2017-04-10 10:49:42','',105,'http://www.biggventures.com/demo/artists/1289/uncat/105-autosave',0,'revision','',0),(3113,1,'2014-06-28 09:27:57','2014-06-28 09:27:57','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\">2014</td>\r\n            <td>Anatomy of forking paths, Art Houz, during Art Chennai</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\">2014</td>\r\n            <td> Encounters:- Is There Love in This Air?, Cattle depot, C & G ArtPartment, Hong Kong</td>\r\n        </tr>\r\n        <tr>\r\n            <td valign=\"top\">2014</td>\r\n            <td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions-works/aesthetic%20bind-cabinet%20closet%20wunderkammer/Reena-Saini-Kallat-50-years-chemould-gallery-prescott-road-mumbai-contemporary-2014.html\" target=\"_blank\">Aesthetic Bind: Floating World, Chemould Prescott Road, Mumbai<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n        </tr>\r\n        <tr>\r\n            <td valign=\"top\">2014</td>\r\n            <td><a class=\"linkbio\" href=\"http://www.sahmatnews.blogspot.in/2014/02/forms-of-activism-24th-feb-to-1st-march.html\" target=\"_blank\">Forms of Activism, exhibition marking 25 years of SAHMAT at the Lalit Kala Akademi galleries, Rabindra bhavan, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n        </tr>\r\n        <tr>\r\n            <td valign=\"top\">2014</td>\r\n            <td><a class=\"linkbio\" href=\"http://www.artoxygen.org/wp-content/uploads/2014/140218_Program_isthereloveinthisair2014.pdf\" target=\"_blank\">Encounters 2014 - Is there love in the air?, Public project with Art Oxygen in 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://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>\r\n            <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></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>\r\n                <a class=\"linkbio\" href=\"http://www.artsblog.it/post/933/larte-contemporanea-indiana-a-milano\" target=\"_blank\">\r\n                    INDIA NOW: Contemporary Indian Art, Between Continuity and transformation, curated by Daniela Palozzoli\r\n                    at Spazio Oberdan, Milan\r\n                </a> <span style=\"color: red;\"> &gt;&gt; </span>\r\n            </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\">2014</td>\r\n            <td>Visas to Happiness - 3, workshop with children at the 2014 Dhaka Art Summit, Bangladesh</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-154','','','2014-06-28 09:27:57','2014-06-28 09:27:57','',105,'http://www.reenakallat.com/3113/uncat/105-revision-154',0,'revision','',0),(1562,1,'2010-07-22 18:11:12','2010-07-22 18:11:12','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n<table>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></tr></td>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago</a></td></tr>\r\n\r\n<tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n</td></tr>\r\n<tr><td valign=\"top\">2005                  </td><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>\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute</em>, Gallery Chemould, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://websterhuntgallery.blogspot.com/2010_02_01_archive.html\" target=\"_blank\">Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University, curated by Jeffrey Hughes and Dana Turkovic, \r\nCecile R. Hunt Gallery,St.Louis,Missouri</a>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/51\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York</a>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><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>\r\n</td></tr><tr><td valign=\"top\">2010 </td><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>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2009                  </td><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 \r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exhibition_moreinfo.php?id=11\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a></td></tr>\r\n<tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n</td></tr><tr><td valign=\"top\">2009     </td><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>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&_subFunction=pastExhibition&exhibition_id=40&_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a>\r\n</td></tr><tr><td valign=\"top\">2009                   </td><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>\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n</td></tr><tr><td valign=\"top\">2009                  </td><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></td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2008     </td><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>\r\n</td></tr>\r\n<tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.indiamoderna.es/eng/index.html\" target=\"_blank\">India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </a></td><td>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><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\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.bodhiart.in/exhibitions/everywhere_is_war/everywhere_war.html\" target=\"_blank\">Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.galeriems.com/reenask_one.htm\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan</a></td><td>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.art-for-the-world.com/wwd/2007/urban_manners/Urban_Manners_pr.pdf\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation,curated by Daniela Palozzoli at Spazio Oberdan, Milan</a>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n</td></tr><tr><td valign=\"top\">2006</td><td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td><td>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2003</td><td> Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary,Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition Aftershock at the Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia\r\n</td></tr><tr><td valign=\"top\">2002</td><td> Khoj 2002 International Artists Workshop, Mysore, India\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n</td></tr><tr><td valign=\"top\">2007                   </td><td>Lecture at the University Boccini, Milan\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai','Biography','','inherit','open','open','','105-revision-67','','','2010-07-22 18:11:12','2010-07-22 18:11:12','',105,'http://www.biggventures.com/demo/artists/1562/uncat/105-revision-67',0,'revision','',0),(1552,1,'2010-07-13 12:20:56','2010-07-13 12:20:56','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute</em>, Gallery Chemould, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://websterhuntgallery.blogspot.com/2010_02_01_archive.html\" 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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/51\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York</a>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><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>\r\n</td></tr><tr><td valign=\"top\">2010 </td><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>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><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 \r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exhibition_moreinfo.php?id=11\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n</td></tr><tr><td valign=\"top\">2009     </td><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>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&_subFunction=pastExhibition&exhibition_id=40&_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a>\r\n</td></tr><tr><td valign=\"top\">2009                   </td><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>\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n</td></tr><tr><td valign=\"top\">2009                  </td><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>\r\n</td></tr><tr><td valign=\"top\">2008     </td><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>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.indiamoderna.es/eng/index.html\" target=\"_blank\">India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </a></td><td>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><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\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.bodhiart.in/exhibitions/everywhere_is_war/everywhere_war.html\" target=\"_blank\">Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.galeriems.com/reenask_one.htm\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan</a></td><td>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.art-for-the-world.com/wwd/2007/urban_manners/Urban_Manners_pr.pdf\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation,curated by Daniela Palozzoli at Spazio Oberdan, Milan</a>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated b','Biography','','inherit','open','open','','105-revision-57','','','2010-07-13 12:20:56','2010-07-13 12:20:56','',105,'http://www.biggventures.com/demo/artists/1552/uncat/105-revision-57',0,'revision','',0),(1549,1,'2010-07-13 11:06:42','2010-07-13 11:06:42','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute</em>, Gallery Chemould, Mumbai</a>\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://websterhuntgallery.blogspot.com/2010_02_01_archive.html\" 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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/51\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><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 \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exhibition_moreinfo.php?id=11\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&_subFunction=pastExhibition&exhibition_id=40&_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><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>\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.indiamoderna.es/eng/index.html\" target=\"_blank\">India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </a></td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><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\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.bodhiart.in/exhibitions/everywhere_is_war/everywhere_war.html\" target=\"_blank\">Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.galeriems.com/reenask_one.htm\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan</a></td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.art-for-the-world.com/wwd/2007/urban_manners/Urban_Manners_pr.pdf\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation,curated by Daniela Palozzoli at Spazio Oberdan, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-55','','','2010-07-13 11:06:42','2010-07-13 11:06:42','',105,'http://www.biggventures.com/demo/artists/1549/uncat/105-revision-55',0,'revision','',0),(1547,1,'2010-07-12 05:55:52','2010-07-12 05:55:52','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute</em>, Gallery Chemould, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://websterhuntgallery.blogspot.com/2010_02_01_archive.html\" 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>\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/51\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><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 \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exhibition_moreinfo.php?id=11\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><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>\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&_subFunction=pastExhibition&exhibition_id=40&_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><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>\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><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>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.indiamoderna.es/eng/index.html\" target=\"_blank\">India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </a></td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><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\r\n</a>\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.bodhiart.in/exhibitions/everywhere_is_war/everywhere_war.html\" target=\"_blank\">Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.galeriems.com/reenask_one.htm\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan</a></td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><a class=\"linkbio\" href=\"http://www.art-for-the-world.com/wwd/2007/urban_manners/Urban_Manners_pr.pdf\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation,curated by Daniela Palozzoli at Spazio Oberdan, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n<tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-53','','','2010-07-12 05:55:52','2010-07-12 05:55:52','',105,'http://www.biggventures.com/demo/artists/1547/uncat/105-revision-53',0,'revision','',0),(1519,1,'2010-06-29 06:15:45','2010-06-29 06:15:45','<h3>Slide presentation followedREENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96             B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt                             Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em><em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010                  <em>Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia,                            Sao Paulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, curator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em><em>Biennale</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009                  <em>Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai <em>*</em>\r\n\r\n2009                  <em>Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>, Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008                  <em>Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum, Japan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em>\r\n\r\n2008                 <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                 <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art and Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the <em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille, France <em>*</em>\r\n\r\n2006                  <em>Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art                            Museum, Finland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004                  <em>Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                  <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em><em> </em>\r\n\r\n2003                  <em>Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of                            Modern Art, Mumbai <em>*</em>\r\n\r\n2003                  <em>Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth                            Watson Gallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                  <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                  <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999                  <em>Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi <em>*</em><em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, at the Sammlung Essl Museum, Vienna\r\n\r\n2008                  Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                   Collaborative workshop as part of  the exhibition <em>Aftershock</em> at the Sainsbury Centre for Visual Arts, University of East  Anglia, Norwich, UK\r\n\r\n2002                  Collaborated on a Billboard  project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at  the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n2001                  <em>Khoj 2002</em>, International Artists Workshop, Mysore,  India\r\n\r\n2001                  <em>Identity and Landscape</em>,  residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists  Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad,  West Indies\r\n\r\n<em>The artist lives and works in Mumbai</em>\r\n\r\n<strong>SOLO EXIBITIONS</strong>\r\n\r\n<strong> </strong>\r\n\r\n2009 <em>Drift</em>, Primo Marella Gallery, Milan\r\n\r\n<a href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past\">http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past</a>\r\n\r\n2008 <em>Silt of Seasons</em>, Chemould Prescott Road, Mumbai\r\n\r\n<a href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\">http://www.gallerychemould.com/exhibitions/2008/reena_bio.html</a>\r\n\r\n2008 <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n<a href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\">http://www.walshgallery.com/reena-kallat-exhibition-2008/</a>\r\n\r\n2005 <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n<a href=\"http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/\">http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/</a>\r\n\r\n2004 <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n\r\n<a href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\">http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html</a>\r\n\r\n<strong>GROUP EXHIBITIONS</strong>\r\n\r\n2010 <em>In Transition: New Art from India</em>, Richmond Art Gallery, Vancouver Biennale, Vancouver\r\n\r\n<a href=\"http://www.richmondartgallery.org/in-transition.php\">http://www.richmondartgallery.org/in-transition.php</a>\r\n\r\n2010 <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n<a href=\"http://websterhuntgallery.blogspot.com/2010_02_01_archive.html\">http://websterhuntgallery.blogspot.com/2010_02_01_archive.html</a>\r\n\r\n2010 <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York <em>*</em>\r\n\r\n<em><a href=\"http://www.stuxgallery.com/site/www/artist_gallery/51\">http://www.stuxgallery.com/site/www/artist_gallery/51</a></em>\r\n\r\n2010 <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n<a href=\"http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india\">http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india</a>\r\n\r\n2010 <em>Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil\r\n\r\n<a href=\"http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html\">http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html</a>\r\n\r\n2009 <em>Viewpoints and Viewing points – 2009 Asian Art Biennale</em>, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n<em><a href=\"http://www.asianartbiennial.org/2009/en/index_en.html\">http://www.asianartbiennial.org/2009/en/index_en.html</a></em>\r\n\r\n2009 <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton,  UK\r\n\r\n<a href=\"http://www.initialaccess.co.uk/exhibition_moreinfo.php?id=11\">http://www.initialaccess.co.uk/exhibition_moreinfo.php?id=11</a>\r\n\r\n2009 <em>Chalo! India: A New Era of Indian Art</em>, National Museum of Contemporary Art, Korea and Essl Museum, Vienna\r\n\r\n<a href=\"http://www.mori.art.museum/english/contents/india/index.html\">http://www.mori.art.museum/english/contents/india/index.html</a>\r\n\r\n2009 <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai\r\n\r\n<a href=\"http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail\">http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail</a>\r\n\r\n2009 Low Blow and<em> Other Species of Confusion</em>, Stux gallery, New York\r\n\r\n<a href=\"http://www.stuxgallery.com/site/www/artist_gallery/42/622\">http://www.stuxgallery.com/site/www/artist_gallery/42/622</a>\r\n\r\n2009 <em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n<a href=\"http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/\">http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/</a>\r\n\r\n2008 <em>Chalo! India: A New Era of Indian Art</em>, Mori Art Museum, Japan\r\n\r\n<a href=\"http://www.mori.art.museum/contents/press/india_20081121_e.pdf\">http://www.mori.art.museum/contents/press/india_20081121_e.pdf</a>\r\n\r\n2008 India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM  Museum, Valencia, Spain <em> </em>\r\n\r\n<a href=\"http://www.indiamoderna.es/eng/index.html\">http://www.indiamoderna.es/eng/index.html</a>\r\n\r\n2008 <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n<a href=\"http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03\">http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03</a>\r\n\r\n2008 <em>TEAF (Taehwagang Eco Art Festival) – Dream   River, Korea </em>\r\n\r\n(found no link) Pls Check the catalogue to see if there’s a web address provided\r\n\r\n2008 <em>Everywhere is War (And Rumours of it</em>), Bodhi  Art Gallery, Mumbai\r\n\r\n<a href=\"http://www.bodhiart.in/exhibitions/everywhere_is_war/everywhere_war.html\">http://www.bodhiart.in/exhibitions/everywhere_is_war/everywhere_war.html</a>\r\n\r\n2008 <em>Fire Walkers</em>, Stefan Stux gallery, New   York\r\n\r\n<a href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\">http://www.stuxgallery.com/site/www/artist_gallery/33</a>\r\n\r\n2008 <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em> </em>\r\n\r\n<a href=\"http://www.galeriems.com/reenask_one.htm\">http://www.galeriems.com/reenask_one.htm</a>\r\n\r\n2007 <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan\r\n\r\n<a href=\"http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin\">http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin</a>\r\n\r\n2007 <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n<a href=\"http://www.art-for-the-world.com/wwd/2007/urban_manners/Urban_Manners_pr.pdf\">http://www.art-for-the-world.com/wwd/2007/urban_manners/Urban_Manners_pr.pdf</a>','Biography ','','inherit','open','open','','105-revision-33','','','2010-06-29 06:15:45','2010-06-29 06:15:45','',105,'http://www.biggventures.com/demo/artists/1519/uncat/105-revision-33',0,'revision','',0),(1296,1,'2010-06-28 06:54:59','2010-06-28 06:54:59','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em><em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, curator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>, Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum, Japan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n and Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the <em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille, France <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em><em> </em>\r\n\r\n2003                       <em>Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai <em>*</em>\r\n\r\n2003                       <em>Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003                       <em>Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999                       <em>Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi <em>*</em> <em> </em>\r\n\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, at the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai \r\n\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                       Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                                   Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\n\r\nThe artist lives and works in Mumbai','Biography ','','inherit','open','open','','105-revision-13','','','2010-06-28 06:54:59','2010-06-28 06:54:59','',105,'http://www.biggventures.com/demo/artists/1296/uncat/105-revision-13',0,'revision','',0),(1291,1,'2010-06-28 06:39:42','2010-06-28 06:39:42','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery\r\n\r\nVancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em>\r\n\r\n<em>University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\n\r\nGallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>\r\n\r\n<em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>,\r\n\r\ncurator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum,\r\n\r\nJapan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n<em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille,\r\n\r\nFrance <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal *<em> </em>\r\n\r\n<em> </em>\r\n\r\n2003<em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai <em>*</em>\r\n\r\n2003<em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003<em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999<em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi <em>*</em>\r\n\r\n<em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel,\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                       Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                                   Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\nThe artist lives and works in Mumbai','Biography','','inherit','open','open','','105-revision-8','','','2010-06-28 06:39:42','2010-06-28 06:39:42','',105,'http://www.biggventures.com/demo/artists/1291/uncat/105-revision-8',0,'revision','',0),(1290,1,'2010-05-22 08:24:53','2010-05-22 08:24:53','<p><!-- 		@page { size: 21cm 29.7cm; margin: 2cm } 		P { margin-bottom: 0cm } 		P.western { font-size: 11pt } 		P.cjk { font-size: 11pt } 		H2 { margin-top: 0cm; margin-bottom: 0cm } 		H2.western { font-family: \"Nimbus Roman No9 L\", serif; font-size: 11pt } 		H2.cjk { font-family: \"DejaVu Sans\"; font-size: 11pt } 		H2.ctl { font-family: \"DejaVu Sans\"; font-size: 12pt; font-weight: medium } 		H1 { margin-top: 0cm; margin-bottom: 0cm } 		H1.western { font-family: \"Nimbus Roman No9 L\", serif; font-size: 12pt } 		H1.cjk { font-family: \"DejaVu Sans\"; font-size: 12pt } 		H1.ctl { font-family: \"DejaVu Sans\"; font-size: 12pt; font-weight: medium } --></p>\r\n<h2><span style=\"font-size: medium;\"><span style=\"text-decoration: underline;\">REENA S. KALLAT</span></span></h2>\r\n<p><span>1973                   Born in Delhi, India</span></p>\r\n<ol>\r\n<li>\r\n<ol>\r\n<li><span>B.F.A. 		[painting], Sir J.J.School of Art, Mumbai</span></li>\r\n</ol>\r\n</li>\r\n</ol>\r\n<p>The artist lives and works in Mumbai.</p>\r\n<p><span><em><strong>SOLO EXHIBITIONS</strong></em></span></p>\r\n<p><span><span>2009 </span><span><em>Drift</em></span><span>, Primo Marella Gallery, Milan </span><span><em>*</em></span></span></p>\r\n<p><span><span>2008 </span><span><em>Silt of Seasons</em></span><span>, Chemould Prescott Road, Mumbai </span><span><em>*</em></span></span></p>\r\n<p><span><span>2008 </span><span><em>Subject to Change without Notice</em></span><span>, Walsh Gallery, Chicago </span><span><em>*</em></span></span></p>\r\n<p><span><span>2006 </span><span><em>Rainbow Of Refuse, </em></span><span>Bodhi Art Gallery, Mumbai and Singapore </span><span><em>* </em></span></span></p>\r\n<p><span><span>2005 </span><span><em>Black Flute (And Other Stories)</em></span><span>, Nature Morte, New Delhi </span><span><em>*</em></span></span></p>\r\n<p><span><span>2004 </span><span><em>Black Flute</em></span><span>, Gallery Chemould, Mumbai </span><span><em>*</em></span></span></p>\r\n<p><span>2002 </span><span><em>The Battlefield Is The Mind</em></span><span>, Sakshi Gallery, Bangalore </span><span><em>*</em></span></p>\r\n<p><span>2002 </span><span><em>Seven Faces of Dust</em></span><span>, Chicago Radio, Mumbai</span></p>\r\n<p><span><span>2000 </span><span><em>Skin</em></span><span>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi </span><span><em>*</em></span></span></p>\r\n<ol>\r\n<li><span><span><em>Orchard 	of Home-grown Secrets</em></span><span>, 	Gallery Chemould and Pundole Art Gallery, Mumbai </span><span><em>*</em></span></span></li>\r\n</ol>\r\n<p><span><em><strong>SELECTED GROUP EXHIBITIONS</strong></em></span></p>\r\n<p><span><span>2010 </span><span><em>In Transition: New Art from India</em></span><span>, Richmond Art Gallery in collaboration with the Vancouver Biennale, Vancouver</span></span></p>\r\n<p><span><span>2010 </span><span><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster </em></span><span><em>University</em></span><span>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt </span>Gallery, St. Louis, Missouri</span></p>\r\n<p><span><span>2010 </span><span><em>Never Run Away</em></span><span>, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York </span><span><em>*</em></span></span></p>\r\n<p><span><span>2010 </span><span><em>The Empire Strikes Back</em></span><span>, Saatchi Gallery, London </span><span><em>*</em></span></span></p>\r\n<p><span><span>2010 </span><span><em> Urban Manners 2</em></span><span>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil</span></span></p>\r\n<p><span><span>2009 </span><span><em>View Points and Viewing points - 2009 Asian Art Biennale</em></span><span>, National Taiwan<br />\r\nMuseum of Fine Arts </span><span><em>*</em></span></span></p>\r\n<p><span><span>2009 </span><span><em>Spectrum: Indian Art at Abu Dhabi</em></span><span>, United Arab Emirates</span></span></p>\r\n<p><span><span>2009 </span><span><em>Milan Galleria</em></span><span>, curated by Georgio Verzotti, Triennale Museum, Milan</span></span></p>\r\n<p>2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK</p>\r\n<p><span>2009                  Ventosul Biennale, Curitiba, Brazil </span></p>\r\n<p><span><span>2009 </span><span><em> Chalo! India: A New Era of Indian Art</em></span><span>, National Museum of Contemporary Art, </span></span></p>\r\n<p><span><span>Korea and Essl Museum, Vienna </span><span><em>*</em></span></span></p>\r\n<p><span><span>2009 </span><span><em>INDIA XIANZAI: Contemporary Indian Art</em></span><span>, Museum of Contemporary Art, Shanghai </span><span><em>*</em></span><span> </span></span></p>\r\n<ol>\r\n<li><span><span><em>Low 	Blow: And Other Species of Confusion</em></span><span>, 	Stux gallery, New York</span></span></li>\r\n</ol>\r\n<p><span><span>2009</span><span><em> Indian Narratives in the 21</em></span><sup><span><em>st</em></span></sup><span><em> Century: Between Memory and History</em></span><span>, Casa Asia, Madrid and Barcelona, Spain </span></span></p>\r\n<p><span><span>2009 </span><span><em>Body Chatter</em></span><span>, Walsh Gallery, Chicago</span></span></p>\r\n<p>2008     <em> Chalo! India: A New Era of Indian Art</em>, Mori Art Museum, Japan <em>*</em></p>\r\n<p>2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em></p>\r\n<p><span>2008                     <span><em>3</em></span><sup><span><em>rd</em></span></sup><span><em> Nanjing Triennale</em></span><span>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China</span></span></p>\r\n<p><span>2008                     <span><em>TEAF (Taehwagang Eco Art Festival) - Dream River</em></span><span>, Korea</span> * </span></p>\r\n<p>2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em></p>\r\n<p>2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York</p>\r\n<p>2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em></p>\r\n<p>2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art and Culture at the Jehangir Art Gallery, Mumbai</p>\r\n<p>2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em></p>\r\n<p>2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em></p>\r\n<p>2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em></p>\r\n<p>2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan</p>\r\n<p>2007                  <em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em></p>\r\n<p>2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em></p>\r\n<p>2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em></p>\r\n<p>2007                  <em>Indian Colour</em>, Keumsan Gallery, Heyri, Korea</p>\r\n<p><span><span>2006 </span><span><em>Modern Indian Works On Paper,</em></span><span> Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA * </span></span></p>\r\n<p><span><span>2006 </span><span><em>Lille 3000 (</em></span><span> Maximum City-Mumbai), Lille, France </span><span><em>*</em></span></span></p>\r\n<p><span><span>2006</span><span><em> Hungry God- Indian Contemporary Art</em></span><span>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</span><span><em>*</em></span><span> </span></span></p>\r\n<p><span><span>2006 </span><span><em>India Express – Art and Popular Culture</em></span><span>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City Art Museum, Finland </span><span><em>*</em></span></span></p>\r\n<p><span><span>2005 </span><span><em>Mom and Pop Art, </em></span><span>Walsh Gallery, Chicago</span></span></p>\r\n<p><span><span>2005 </span><span><em>Span</em></span><span>, Sakshi Gallery, Mumbai</span></span></p>\r\n<p><span><span>2005 </span><span><em>Indian Paintings of the New Millenium</em></span><span>, curated by </span><span>Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield University, USA</span><span><em>*</em></span></span></p>\r\n<p><span><span>2004 </span><span><em> Contemporary Art from India</em></span><span>, Thomas Erben Gallery, New York</span></span></p>\r\n<ol>\r\n<li><em>Zoom! Art in Contemporary 	India.</em> Curators: Nancy Adajania and Luis</li>\r\n</ol>\r\n<p>Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em></p>\r\n<p><span><span>2003</span><span><em> Crossing generations: diVERGE</em></span><span>, Gallery Chemould’s 40th anniversary, </span>Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern </span></p>\r\n<p><span><span>Art, Mumbai </span><span><em>*</em></span><span> </span></span></p>\r\n<p><span><span>2003</span><span><em> Hard Copy,</em></span><span> two-person show with Jitish Kallat, Gallery 88, Calcutta *</span></span></p>\r\n<p><span><span>2003 </span><span><em>Tiranga</em></span><span>, curator: Peter Nagy, India Habitat Centre, New Delhi, </span><span><em>*</em></span></span></p>\r\n<p><span><span>2003</span><span><em> Elephant Walks</em></span><span>, Youth Arts Project in collaboration with Jitish Kallat as part of </span>Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson</span></p>\r\n<p><span><span>Gallery 4A, Sydney </span><span><em>*</em></span><span> </span><span><em> </em></span><span> </span></span></p>\r\n<p><span><span>2003 </span><span><em>The Tree From The Seed, Contemporary Art from India, </em></span><span>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway </span><span><em>*</em></span></span></p>\r\n<p><span><span>2002 </span><span><em>Crosscurrents</em></span><span>, organized by Artworks for the fiftieth anniversary </span>celebrations of Jehangir Art Gallery, Mumbai </span></p>\r\n<ol>\r\n<li><span><span><em>Reclaim 	Our Freedom</em></span><span>, 	organized by Open Circle, Pundole Art Gallery, Mumbai </span></span></li>\r\n</ol>\r\n<ol>\r\n<li><span><span><em>Crossing 	Borders</em></span><span>, Gallery 	Windkracht 13, Den Helder, Holland</span></span></li>\r\n</ol>\r\n<ol>\r\n<li><span><span><em>Big 	River 2</em></span><span>, CCA7 	Gallery, Port Of Spain, Trinidad </span><span><em>*</em></span></span></li>\r\n</ol>\r\n<p><span><span>2001 </span><span><em>AOM- Art on the move</em></span><span>, organized by Sahmat, New Delhi </span><span><em>*</em></span><span> </span></span></p>\r\n<p><span><span>1999</span><span><em> Edge of the Century,</em></span><span> curated by Amit Mukhopadhyay, Academy of Fine Arts and Literature, New Delhi </span><span><em>*</em></span></span></p>\r\n<p><em>* </em>exhibition catalogue published</p>\r\n<p><span><em><strong>SELECTED WORKSHOPS AND RESIDENCIES</strong></em></span></p>\r\n<p><span><span>2009 </span><span><em>Vanishing Point</em></span><span>, children’s project at the Celebrate Bandra Festival, Mumbai </span></span></p>\r\n<ol>\r\n<li><span><span>Collaborative 	workshop as part of the exhibition </span><span><em>Aftershock</em></span><span> at the Sainsbury </span></span></li>\r\n</ol>\r\n<p><span><span>Centre for Visual Arts, University of East Anglia, Norwich, UK</span></span></p>\r\n<ol>\r\n<li><span>Collaborated 	on a Billboard project with Jitish Kallat, funded by the Swiss       	            Council, Kala Ghoda Art District, Mumbai</span></li>\r\n</ol>\r\n<p><span><span>2003 </span><span><em>Elephant Walks</em></span><span>, Youth Arts Project at the Casula Power House </span>Arts Centre, Liverpool, Australia</span></p>\r\n<p><span><span>2002</span><span><em> Khoj 2002</em></span><span>, International Artists Workshop, Mysore, India</span></span></p>\r\n<p><span><span>2002</span><span><em> Identity and Landscape</em></span><span>, residency in the Laurentian mountains of Quebec at the </span></span>Boreal Art/Nature Centre, Canada</p>\r\n<p><span><span>2001 </span><span><em>Big River 2</em></span><span>, International Artists Workshop organized by CCA7 and the Triangle </span></span>Arts Trust at Grand Riviere, Trinidad, West Indies</p>\r\n','Biography','','inherit','open','open','','105-revision-7','','','2010-05-22 08:24:53','2010-05-22 08:24:53','',105,'http://www.biggventures.com/demo/artists/1290/uncat/105-revision-7',0,'revision','',0),(1295,1,'2010-06-28 06:47:23','2010-06-28 06:47:23','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt              Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>\r\n\r\n<em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>,\r\n\r\ncurator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum,\r\n\r\nJapan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n<em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille,\r\n\r\nFrance <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal *<em> </em>\r\n\r\n<em> </em>\r\n\r\n2003<em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai <em>*</em>\r\n\r\n2003<em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003<em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999<em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi <em>*</em>\r\n\r\n<em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel,\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                       Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                                   Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\nThe artist lives and works in Mumbai','Biography ','','inherit','open','open','','105-revision-12','','','2010-06-28 06:47:23','2010-06-28 06:47:23','',105,'http://www.biggventures.com/demo/artists/1295/uncat/105-revision-12',0,'revision','',0),(1292,1,'2010-06-28 06:44:21','2010-06-28 06:44:21','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em><em>University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\n\r\nGallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>\r\n\r\n<em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>,\r\n\r\ncurator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum,\r\n\r\nJapan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n<em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille,\r\n\r\nFrance <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal *<em> </em>\r\n\r\n<em> </em>\r\n\r\n2003<em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai <em>*</em>\r\n\r\n2003<em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003<em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999<em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi <em>*</em>\r\n\r\n<em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel,\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                       Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                                   Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\nThe artist lives and works in Mumbai','Biography','','inherit','open','open','','105-revision-9','','','2010-06-28 06:44:21','2010-06-28 06:44:21','',105,'http://www.biggventures.com/demo/artists/1292/uncat/105-revision-9',0,'revision','',0),(1293,1,'2010-06-28 06:44:50','2010-06-28 06:44:50','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\n\r\nGallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>\r\n\r\n<em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>,\r\n\r\ncurator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum,\r\n\r\nJapan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n<em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille,\r\n\r\nFrance <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal *<em> </em>\r\n\r\n<em> </em>\r\n\r\n2003<em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai <em>*</em>\r\n\r\n2003<em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003<em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999<em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi <em>*</em>\r\n\r\n<em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel,\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                       Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                                   Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\nThe artist lives and works in Mumbai','Biography','','inherit','open','open','','105-revision-10','','','2010-06-28 06:44:50','2010-06-28 06:44:50','',105,'http://www.biggventures.com/demo/artists/1293/uncat/105-revision-10',0,'revision','',0),(1294,1,'2010-06-28 06:45:47','2010-06-28 06:45:47','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>\r\n\r\n<em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>,\r\n\r\ncurator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum,\r\n\r\nJapan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n<em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille,\r\n\r\nFrance <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal *<em> </em>\r\n\r\n<em> </em>\r\n\r\n2003<em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai <em>*</em>\r\n\r\n2003<em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003<em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999<em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi <em>*</em>\r\n\r\n<em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel,\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                       Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                                   Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\nThe artist lives and works in Mumbai','Biography','','inherit','open','open','','105-revision-11','','','2010-06-28 06:45:47','2010-06-28 06:45:47','',105,'http://www.biggventures.com/demo/artists/1294/uncat/105-revision-11',0,'revision','',0),(1298,1,'2010-06-28 18:07:50','2010-06-28 18:07:50','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em><em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, curator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>, Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum, Japan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the <em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille, France <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em><em> </em>\r\n\r\n2003                       <em>Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai <em>*</em>\r\n\r\n2003                       <em>Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003                       <em>Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999                       <em>Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi <em>*</em> <em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, at the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                     Collaborative workshop as part of  the exhibition <em>Aftershock</em> at the Sainsbury Centre for Visual Arts, University of East  Anglia, Norwich, UK\r\n\r\n2002                   Collaborated on a Billboard  project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at  the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore,  India\r\n\r\n2002<em> Identity and Landscape</em>,  residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists  Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad,  West Indies\r\n\r\n<em>The artist lives and works in Mumbai</em>','Biography ','','inherit','open','open','','105-revision-15','','','2010-06-28 18:07:50','2010-06-28 18:07:50','',105,'http://www.biggventures.com/demo/artists/1298/uncat/105-revision-15',0,'revision','',0),(1297,1,'2010-06-28 17:53:02','2010-06-28 17:53:02','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em><em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, curator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>, Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum, Japan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\n and Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the <em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille, France <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em><em> </em>\r\n\r\n2003                       <em>Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai <em>*</em>\r\n\r\n2003                       <em>Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003                       <em>Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999                       <em>Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi <em>*</em> <em> </em>\r\n\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, at the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai \r\n\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2002                  <em>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, UK\r\n\r\n2002                  <em>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda  Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n2002                  <em>Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002                  <em>Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre,  Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\n\r\nThe artist lives and works in Mumbai','Biography ','','inherit','open','open','','105-revision-14','','','2010-06-28 17:53:02','2010-06-28 17:53:02','',105,'http://www.biggventures.com/demo/artists/1297/uncat/105-revision-14',0,'revision','',0),(1299,1,'2010-06-28 18:08:47','2010-06-28 18:08:47','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em><em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, curator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>, Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum, Japan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the <em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille, France <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em><em> </em>\r\n\r\n2003                       <em>Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai <em>*</em>\r\n\r\n2003                       <em>Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003                       <em>Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999                       <em>Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi <em>*</em> <em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, at the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                     Collaborative workshop as part of  the exhibition <em>Aftershock</em> at the Sainsbury Centre for Visual Arts, University of East  Anglia, Norwich, UK\r\n\r\n2002                   Collaborated on a Billboard  project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at  the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore,  India\r\n\r\n2002<em> Identity and Landscape</em>,  residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists  Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad,  West Indies\r\n\r\n<em>The artist lives and works in Mumbai</em>','Biography ','','inherit','open','open','','105-revision-16','','','2010-06-28 18:08:47','2010-06-28 18:08:47','',105,'http://www.biggventures.com/demo/artists/1299/uncat/105-revision-16',0,'revision','',0),(1300,1,'2010-06-28 18:12:18','2010-06-28 18:12:18','<h3>REENA S. KALLAT</h3>\r\n1973                   Born in Delhi, India\r\n\r\n1991-96  B.F.A. [painting], Sir J.J.School of Art, Mumbai\r\n<h3>SOLO EXHIBITIONS</h3>\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan <em>*</em>\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai <em>*</em>\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago <em>*</em>\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em>* </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi <em>*</em>\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai <em>*</em>\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore <em>*</em>\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n2000                 <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi <em>*</em>\r\n\r\n1998                                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art Gallery, Mumbai <em>*</em>\r\n<h3>SELECTED GROUP EXHIBITIONS</h3>\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery Vancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster</em> <em>University</em>,curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt Gallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em><em> </em>Stux Gallery, New York <em>*</em>\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London <em>*</em>\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, curator: Chao-yi-TSAI, National Taiwan Museum of Fine Arts <em>*</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection, Wolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna <em>*</em>\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art, Shanghai <em>*</em>\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>, Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, curator: Akiko Miki, Mori Art Museum, Japan <em>*</em>\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain <em>* </em>\r\n\r\n2008                     <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang, China\r\n\r\n2008                     <em>TEAF (Taehwagang Eco Art Festival) - Dream   River, Korea</em> *\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai <em>*</em>\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai <em>*</em>\r\n\r\n2008                  <em>A MAZ ING</em>, curated by Anupa Mehta for Harsh Goenka/RPG Academy of Art\r\nand Culture at the Jehangir Art Gallery, Mumbai<em> </em>\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em>*</em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea <em>*</em>\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai <em>*</em>\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar Bicocca , Milan <em>* </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>, curated by Daniela Palozzoli at Spazio Oberdan, Milan <em>*</em>\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid, Chicago Cultural Centre, Chicago <em>*</em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany <em>*</em>\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the <em> </em>Georgia Museum of Art, USA <em>*</em>\r\n\r\n2006                  <em>Lille</em><em> 3000(</em> Maximum City-Mumbai), curated by Caroline Naphegi, Lille, France <em>*</em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA<em>*</em>\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland <em>*</em>\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield   University, USA<em>*</em>\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                       <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal *<em> </em><em> </em>\r\n\r\n2003                       <em>Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai <em>*</em>\r\n\r\n2003                       <em>Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta *\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi, <em>*</em>\r\n\r\n2003                       <em>Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney <em>*</em> <em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway <em>*</em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art Gallery, Mumbai\r\n\r\n2002                                    <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2001                                    <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad <em>*</em>\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi <em>*</em>\r\n\r\n1999                       <em>Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi <em>*</em> <em> </em>\r\n\r\n<em>* </em>exhibition catalogue published<em> </em>\r\n<h2>TALKS/ PRESENTATIONS</h2>\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, at the Sammlung Essl Museum, Vienna\r\n\r\n2008                       Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini   Malani, Sheba Chachi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University of Georgia\r\n\r\n2006                  Talk at the M. Smith Griffith Auditorium, Georgia Museum of Art\r\n\r\n2003                  Slide presentation at the Academy of Fine Arts in Oslo, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai\r\n<h3>SELECTED WORKSHOPS AND RESIDENCIES</h3>\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007                     Collaborative workshop as part of  the exhibition <em>Aftershock</em> at the Sainsbury Centre for Visual Arts, University of East  Anglia, Norwich, UK\r\n\r\n2002                   Collaborated on a Billboard  project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at  the Casula Power House Arts Centre, Liverpool, Australia\r\n\r\n2001                  <em>Khoj 2002</em>, International Artists Workshop, Mysore,  India\r\n\r\n2001<em> Identity and Landscape</em>,  residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists  Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad,  West Indies\r\n\r\n<em>The artist lives and works in Mumbai</em>','Biography ','','inherit','open','open','','105-revision-17','','','2010-06-28 18:12:18','2010-06-28 18:12:18','',105,'http://www.biggventures.com/demo/artists/1300/uncat/105-revision-17',0,'revision','',0),