http://www.alart.org/dubai-contemporary-art-scene/
LATITUDE 28 debuts SUMMIT IN INDIA WITH ART TASTE Vietnamese artists and Baroda
Latitude 28
Of course not. A04,
Hall no. 7
India Art Summit,
Pragati Maidan, New Delhi.
Since – August 19 2009-22 August 2009.
All set to make a splash in the second edition of the India Art Summit, curator and art historian Bhavna Kakar brings forth an eclectic mix of artists under the company's new art Latitude 28. With a background in arts education of Baroda, was expected to become a gallery curator choose to represent some of the Baroda's most exciting young artists in their first summit
Baroda apart, what gives this exhibition a special place in the Summit that it would be the only gallery showing works by Bhupen Khakhara avowed homosexuals whose famous portrait of work would be on display. In addition, Latitude 28 will also be showcased artist and diva Karachi Nasreen Mohamedi pen and ink drawings on Japanese writing paper, besides bringing to India for the video for the first time the works of three renowned Vietnamese artists.
Dice Bhavna Kakar, curator and director, Latitude 28: "India Art Summit is a wonderful platform to display the collection of our new company, Latitude 28 and interact with the art fraternity. The gallery is committed to artfully evocative and challenging in a variety of ways and is happy to be able to enter the market Indian art genres of India, not only international art practices. In addition to showing veterans like Jogen Chowdhury, Bhupen Khakhara and Nasreen Mohamedi, our aim is to highlight the new era of art by young luminaries like Surekha and Prajjwal Choudhury. "
The artists are: Jogen Chowdhury, Bhupen Khakhara, Nasreen Mohamedi, Sonia Mehra Chawla, Prajjwal Choudhury, Rajesh Ram, Surekha, HG Arunkumar, Tuan Andrew Nguyen, Thuc Phu Viet Ha and Nguyen Thi Trinh.
Meanwhile Bhupen Nasreen Mohamedi Khakhara and were associated with MSUniversity, Baroda, the latter as a teacher, aesthetics in his work is unique for everyone.
Honored with Padma Shri in 1984, Bhupen Khakhara was a self-self, leaving the profession flourish chartered accountant to go to Baroda, against the wishes of family members. Despite the lack of formal training, began mapping Khakhara gorging peculiar style of aesthetics kitsch from the streets and homes of Gujarat. Later, his paintings increasingly towards the theme of homosexuality in a society largely conservative India. Some of his paintings at the Summit, entitled Portrait, Big Head and The Banyan Tree, unleash the artist happy to take on sexuality and society.
Unlike Khakhara bold, figurative paintings, Nasreen Mohamedi style is known for being subtle and abstract. His last major exhibition was at Documenta in Germany. Gallery selected geometric patterns in black and white of Mohamedi group of works that beautifully complement Khakhara colorful palette.
Born in Karachi in 1937, Nasreen was known for his minimalist Zen-like tone from the beginning of his career. In the '60s and '70s, was perhaps one of the few women in the exclusive domain of male high Modernism in India trying to develop a vocabulary other than their own aesthetic. She is often associated with the minimalist artist Agnes Martin, whose quality of work defined by pristine touch texture arranged along the raster lines drawn by hand carefully invoking handwoven effect. Although not much is known about the early work the artist who died in 1990, his poetic diary has been the main source of assimilate chapters of his vision. Nasreen notes mention daily interactions with artists like VS Gaitonde and Tyeb Mehta in Bhulabhai Desai Institute who made a profound impact on her. In 1971, when he joined the Faculty of Fine Arts, MS University, Baroda as teachers, interactions with Jeram Patel, who also in their own separate ways was possible to perceive an abstract style, rallied to extend their own practice.
The exposure of the teeth of Women is the title of the work of another veteran who has Jogen Chowdhury been widely recognized as the owner of the line. The figure is the most prominent source of their works. Jogen Chowdhury ability to juxtapose contrary emotions, the real and the imaginary and the known and unknown, that his art not only a form of personal expression but a reflection of a collective consciousness and subjective.
While these unique paintings veterans aim to attract the attention of avid collectors of art, video works of younger artists are also promising. Bhavna Kakar said: "The videos will be shown in the video room during the summit and have a specific context of their nation. But in a global society where everyone strives for peace and progress, realizing aesthetic concerns and move this military language becomes vital region in the process. "
For example, the artist Trinh Thi Nguyen of Vietnam presents a video work entitled After spring arrives Winter 2009, which notes Dat Le's funeral. (A Vietnamese poet who was part of a literary and intellectual movement 1950 in northern Vietnam called "Nhan Van-Giai Pham," which criticized the life under communism. It was banned after publishing for three decades, and it was not until 2007 that the Government Vietnamese decision to award a prestigious national award in an effort to reconcile the wrongs of the past.) Explains the artist: "As the avant-garde artists like this poet is forced to remain silent, the Vietnamese literature and art suffered decades of decline. In this short film, the camera focuses on the pain of those attending the funeral of the famous poet, many of whom are Vietnam established contemporary writers and intellectuals. "Thi camera yet time passes in reverse the procession of people moving around the coffin reverently Dat Le's are shown on rewind. This investment of time can refer to many interviews with Le Thi DAT before he died where he once said was a common feeling among many of its young generation that was entirely lost and consumed. By investing time in the spring Winter comes later Thi wishes of his youth to be returned to him.
Vietnamese artists Nguyen Tuan video Andrew Thuc Phu Nam Ha and create a video projection in conjunction with the word Uh … written as a graffiti tag various public walls along Ho Chi Minh, Vietnam. As stroll past pedestrians and traffic geniuses in the streets, a period in the sinks that 're seeing is a path that meanders through strategically focused suggestive detailed images of the various walls government compound in Ho Chi Minh. This work explores not only Vietnam's changing landscapes, both cultural and physical issues, but also the reality of change.
Exploring similar gender three video art is fragmented actions of Silence by Surekha which represents a transition from the autobiographical real self-image. Divided into two horizontal frames, the top half of the artist drawing video contains rose petals one by one from his mouth and hit real mother, as if the flower is the creation of a human act. In the lower half is the same scene in reverse negative eating petals tilted up and down. The double image of the artist's positive and negative eating and re-create an echo of flowers in the concealment and revelation of his face. His other video called Bhagirathi bring water, fired in a domestic space, transgresses to make a living in real space metaphorical artistic immediate location. In this case, the protagonist is in a tub and confronted with the route proposed by the camera lonely and nostalgic, and want picturized what was stored in a memory of childhood.
Besides video works, a collage of paintings and installations of other young artists are equally noteworthy. For example, Sonia Mehra mixed media on canvas entitled membrane Chawla is an ongoing debate between the individual and the evolution constant urban places. The display of your work 8.5ft by 5ft size alone is a prelude Sonia next show in Mumbai. His work primarily investigates and explores the layers and complexities that are manifested in the urban and the biomorphic. The forms are both generator and sensual, macabre and degenerate, opulent and impressive and bear within themselves the power of life and the vulnerability of the decline. The trees, like veins and a cow skeleton at work becomes a metaphor for the pain of mindless urbanization.
That is the kind of facilities, Arunkumar HG artist's job is a 3-foot tall Superman, which he calls Super B. The Trained as a sculptor from Baroda, Arunkumar work in various disciplines, including photography and design of toys. Your use of readymade objects such as toys, plastic, ceramic cow manure, hay and television monitors gives us an idea of its sensitivity to the neo-pop movement. Its toy-like, however, intricate sculpture works often convey a simple message. Sometimes, however, Arunkumar switches the dynamics of this relationship, the creation of works physically seems essential, but complex enough to convey a message contrary to their appearance.
Artist Prajjwal Choudhury in his book Everything is done before, but we would like to go back and start over, establishing a recycling machine apparently operates as a condition of kinetic to return to play process and matchboxes. He says: "There will be 2000 matchboxes placed inside the mixer that falls on a steel plate in motion. All boxes of matches with each other and accumulate once the mixer is empty the blender will mix with the vacuum process for the recycling process begins. "Obviously Prajjwal is at war with the way in which everyday objects are taken for granted. He gathers his preliminary combustible objects such as boxes of matches to design their thought-provoking creations. These matchboxes packed in the recycling machine to make a realistic visual appeal, but with an ironic humor deceiving the viewer. The cover of matchbooks bearing the images of the works of famous artists, Andy Warhol, Picasso, Damien Hirst, Marcel Duchamp, Salvador Dalí, Dhruva Mistry, Jitish Kallat, Subodh Gupta and Atul Dodiya.
On the other hand, Rajesh Ram aptly weaves his aesthetic configurations with satire impassive Pothia tilted in his jag padhi muah padhi pandit na hua koye Dhai Akshar prem ke pade so pandit Hoye. Made of tangible objects such as books, artist manipulates his forms to outline your background accented hearts, stating the saga of love and tolerance in an intolerant society. The artist also so mysterious prepared to promote Hindi language national proverbial legendary in its connotation highlighting significant.
LATITUDE 28 is a new company headed by Bhavna Kakar, a Delhi-based expert on modern and contemporary art, with particular emphasis on the subcontinent Indian. Committed to providing a platform for young talents, Latitude 28 encourages broad-based practices ranging from painting and sculpture, photography, video and installations.
To anticipate trends and identify the latent talent, Latitude 28 agrees not to host exhibitions only in the white cube a gallery space, but also by supporting residential, outreach programs, seminars and lectures. Take the art! is the magazine Art was launched under the same flag, a bold initiative in times of recession today that provides Latitude 28 in addition to the established regular trade.
LATITUDE 28 has shown an eclectic mix of contemporary artists like Justin Ponmany, Atul Bhalla, Palava Prajakta, Manjunath Kamath, George Martin, Sandeep Pisalkar, Farhad Hussain, Binu Bhaskar, Chadha Niyeti, Sakshi Gupta, Minal Damani, Apurba Nandi, Iranna Pooja, Alok Bal, and older people as Bhupen Khakhara, Nasreen Mohamedi, Ganesh Haloi, Koltes Prabhakar, GR Santosh, among others, in India and international forums such as Hong Kong, Singapore, Dubai and London.
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