Devi Art Foundation
Resting on the floor, this spherical dictionary has an unsettling sense of motion, as if it is about to roll around and perturb the existing order of the words on the surface. The dynamic inherent in the spherical form is symptomatic of the condition of globalization, not only in the signification of the globe, but also in its sense of movement.
Santhosh works with pictorial ready-mades. Drawing on magazines, television, art history and world cinema for source images, he renders them on immense canvases.Where One Hand Claps/ Signs That Betray Its Meaning is the earlier work, executed when Santhosh was working with images with straightforward historical references.
It is based on a journalistic photograph of sadhus or Indian ascetics captured at the Kumbh Mela. An event like the Kumbh Mela which occurs once in twelve years attracts an international media presence and the images of naga sadhus coming for a holy dip in the sacred river, Ganga, becomes an stereotypical symbol of Hindu spirituality.
This work derives from Probir Gupta’s long-term engagement with human rights groups concerned with those who are displaced by development. Rice House reminds us of the forced dislocation, the loss of indigenous knowledge systems, the threat to the agrarian economy, and the deep, pervasive violence that underwrite our modernity and progress.
Every autumn, Kali is worshipped in a popular festival in Bengal, where communities sponsor clay images that will be immersed in water after ten days of worship. There is a multiplicity of ways in which the deity can be imagined. Anita Dube participates in this multiplicity by creating her own representation of the goddess.
C. R. Nanaiah’s posters serve as an ironic counter to the profusion of canvassing material that one is surrounded by at the time of elections. During an artists’ residency, Nanaiah inundated public space with these cheaply printed posters, plastering them on walls alongside other election campaign posters.
The artist made this sculpture after his father’s death, in response to the popular practice of framing photographs of the dead on the walls. By hanging up human skin in place of a benign photograph, Ojha compels us to face the reality of death rather than sentimental representations of the ‘deceased’.
Where in the World Exhibition at the Devi Art Foundation was Curated by Edward Anderson, Seher Agarwala, Neha Berlia, Rajashree Biswal, Ayeeta Biswas, Ambar Sahil Chatterjee, Rahul Dev, Dipa Donde, Natasha Ginwala, Vartikka Kaul, Nidhi Khurana,Premjish Nil, Eesha Phanse, Mohd. Ahmed Sabih, Moumita Sen, Yamini Telkar, Agastaya Thapa, Malavika Venugopal, and John Xaviers.
Led by Kavita Singh, Shukla Sawant and Naman Ahuja
School of Art & Aesthetics, Jawaharlal Nehru University.
Devi Art Foundation Team (Where in the World): Deepti Mulgund, Jaya Neupaney.
Text copyright (2008), students and faculty of the School of Arts and Aesthetics, Jawaharlal Nehru University.
Image copyright (2008), of the Artists and Devi Art Foundation.
Exhibit drafted by: Srinivas Aditya Mopidevi, Kriti Sood, Devi Art Foundation.