Yogesh Barve | 'explaining this work could be exploiting'
Opens: Wednesday 28 May, 2014 | 5pm
Continues till 10 June, 2014
Clark House, Colaba, Bombay
Yogesh Barve is a conceptual artist whose artistic practice ranges from painting and printing to sculpture, film, multimedia installations and site specific works. While stylistically varied, a common thread throughout his work is a critique of our cultural framework of thinking: he uses the idea of the slash in the form of un/learning, de/constructing and non/conformism as thinking and working methods. Utilising a range of materials including found objects, participatory technologies like his mobile phone camera and game engines, Yogesh is opening new aesthetic views that deal with social phenomena such as in/equality, ir/rationality the un/seen or the in/outsider.
Born in Bombay in 1989, he belongs to the generation of artists following India's art market boom and dive. Living and working in India's most populous city, he gets his main source of experiences and inspirations from this hyper-dynamic and culturally diverse surrounding. He first graduated with a diploma in leather technology at the Government Polytechnic Mumbai in 2009 and worked in a tannery in Chennai for nearly half a year before deciding that he wanted to dedicate himself to the fine arts. He did his Foundation and first year of education at Vasai College of Art before joining Rachna Sansad Academy of Fine Arts and Crafts, where he graduated with a Bachelor's degree in Fine Arts in 2014. Since 2012 he is a member of the artist collective Shunya, which formed in Clark House, and has been part of group exhibitions around the country and abroad.
The works he creates are often the result of his daily travelling through Bombay. Roaming around on foot or using the local train with his father, a Western Railway guard, he spontaneously catches unnoticed everyday scenes of the city's diverse inhabitants - workers, migrants, elite, dalits - and their public lives, played roles and learned routines. Collaging them to an experimental visualconglomerate, displayed on single or multiple screens, he is able to recreate the layered and non-linear experiences and realities he encounters. Other experimental digital works and installations are the result of pushing the limits of technical devices: he plays with the effects of video feedback, loops, morphings, errors or the simple but effective spinning of the camera on a string – with the result of creating a visual chaos, an overflow of information and an unintelligible image. Thereby, his works are questioning the viewer's in/capability to read visual codes in a world in which we are constantly surrounded by the digital.
Influenced by Minimalism, Yogesh is able to use a simple visual language as for example a line on a piece of paper and its composition to speak about the paradox of equality and inequality, as in his works "silent text" and "equality/inequality". Inspired by Fluxus, he uses found objects like a clock, a toy or a printing machine, and by dismantling it completely, he also dismantles the fiction of our way of seeing an object as an object. In "Information on information", by scanning and printing every single part of the printer with another printer of the same sort, he questions the creation of information and knowledge. His site specific works arise from his encounter with a certain place and its atmosphere or history. In the cases of the public art project "salt& equal" along the way from the station to Vasai College of Art and the video installation "my home/Clark House Initiative", the ideas originated in the boredom he experienced in these places, but the result speaks about the contrast of Bombay's urban and suburban structures. In "Portlights of the sea deck" and "Just, and gone\", he transforms the building into a new visual: remembering Clark House's past as a shipping office, and merging Mati Ghar with its natural surrounding by camouflaging it.
- Rebecca John
Christine Rogers | 'ice'
Wednesday 28 May, 2014 | 5pm
Continues till 10 June, 2014
Clark House, Colaba, Bombay
Closing event of the exhibition:
'And I laid traps for troubadours,
who get killed before they reached Bombay'
"I have been photographing the idea of a landscape and the reality of temperature, rocks, long distances, hot weather and frozen water. These are a series of pictures from the northern most mountains and rocks of India and constructed still life images of the memory of coldness made in Mumbai." CR
Christine Rogers is an artist from Nashville, Tennessee. She received her BA in Anthropology from Oberlin College in 2004 and her MFA in Studio Art from Tufts University in 2008. She has exhibited widely across the United States and was in a two person show at the Museum of Contemporary Art in Santiago, Chile in the fall of 2012. She was a Visiting Lecturer of Photography at Wellesley College outside of Boston, Massachusetts from 2008-2011 and has lectured on her work across at various institutions such as Vanderbilt University, Watkins College and Cooper Union in New York. From 2012-2103 Christine was a Fulbright-Nehru Senior Research Scholar completing research for her project, "Photographing Imagined Landscapes: The Switzerland of India" and her first solo show in India was in the spring of 2013 at 1 Shanthi Road Gallery in Bangalore, Karnataka. Her work has been written about in Time Out Bengaluru, The Bangalore Mirror, The Hindu, New Landscape Photography, Hyperallergic, Dazed Digital, The Tennessean and the Nashville Scene. She is an Assistant Professor of Photography at Watkins College in Nashville, TN.
The Workshop Model
Krishna Reddy Retrospective
Bihar Lalit Kala Akademi
Address: Lalit Kala Akademi, Fraser Road, Patna
Exhibition dates: 26 May - 1 June, 2014
Opening 26 May, 6pm:
Inauguration by Bipin Bihari, Minister for Arts, Culture and Youth, State of Bihar
Guests: Anand Prasad Badal, President, Bihar Lalit Kala Akademi, Patna
& Anant Nikam, Professor Sir JJ School of Art, Bombay
Chaired by Chanchal Kumar, Secretary, Ministry of Arts, Culture and Youth, State of Bihar
Curated by: Prof. Anant Nikam, Head of Department, JJ Printmaking Studio
& Zasha Colah and Sumesh Sharma, Curators, Clark House Initiative Bombay
One of the remarkable commitments of Krishna Reddy's practice was his use of the workshop model.
As the Co-director of Atelier 17, Krishna Reddy had been making constant trips to teach Colour Viscosity in the United States through workshops. In 1976 he moved with his family to New York to join as the director of the Graphics Department at New York University where he established the Colour Print Atelier. From November 1981 to February 1982, Reddy held his first retrospective at Bronx Museum of the Arts. Kekoo Gandhy the director of his gallery Chemould in Bombay decided to bring a retrospective home to India. In 1984 it travelled to the Roopankar Museum at Bharat Bhavan, Bhopal and Birla Academy of Fine Arts in Calcutta.
For its Bombay leg Reddy had requested it to happen within the JJ School of Art, he also communicated his desire to hold a Colour Viscosity printmaking workshop at the college. The Dean of the JJ School of Art and a graduate of the school's first batch of printmakers Professor Vasant Parab readily agreed to Reddy's suggestion. The workshop was held between the 17th of April and 16th of May 1984. Prabhakar Kolte, Lalitha Lajmi, Paul Koli, Madhulika Varma and Professor Anant Nikam, then a student, were all participants. Reddy came equipped with inks, paper and a large German Heidelberg press which he donated to the college. This press 29 years on, is still in use at the printmaking department of the college.
The workshop is remembered as a model of the avant-garde, and it returned to the Sir JJ School of Art as a retrospective of Reddy's practice from 28 october to 5 December, encompassing all his prints, and drawings from his time at Shantiniketan, to the preparatory sketches of his etchings. Reddy's retrospective arises through various efforts of the printmaking studio at JJ and the culmination of a series of workshops that began with the Sabavala Portfolio in 2011.
Excitingly, the exhibition was visited by art faculty from various universities spanning India, connecting all of a sudden, a remarkably vibrant, alternative map of distinguished art spaces, and a serious network of art audience running across the country. This new map, of university campuses and Lalit Kala Akademis, have a generosity, and an enviable independence, within frugal budgets. The exhibition after closing at the JJ School of Art, was invited to MSU Baroda's Fine Art Galleries, and to Pune University. It has been graciously invited to Bihar's Lalit Kala Akademi. This exhibition travels because of a series of invitations, which are an awakening testament to a particular trait of Krishna Reddy's practice: the capacity for generosity between many distant institutions connected by a shared history and purpose, that Reddy's own work and travels made vivid.
- Zasha Colah
Clark House Initiative is a curatorial collaborative and a union of artists based in Bombay.
Clark House Initiative
c/o RBT Group, Ground Floor, Clark House building, Colaba
8 Nathalal Parekh Marg (Old Wodehouse Road),
Bombay 400039, India
Opposite Sahakari Bhandar and Regal Cinema, next to Woodside Inn.
Open all days including Sundays from 11am-7pm during exhibitions.