, Asim Waqif
, Boshudhara Mukherjee
, Tanya Goel
, Prashant Pandey
, Kausik Mukhopadhyay
, Kaushik Saha07 June - 04 August, 2018
The exhibition Waste Land is part of the biennial public diplomacy campaign “70 Years of Swiss-Indian Friendship: Connecting Minds – Inspiring the Future” of the Consulate General of Switzerland in Mumbai. Aiming to reinforce this friendship, the exhibition connects creative minds from fields as diverse as contemporary Indian art and Swiss waste management and technology. Cutting across these disciplines, the exhibition provides a platform for the exchange of innovative ideas and pioneering discoveries in both fields.
The title Waste Land uses ‘waste’ as a generic term, covering a wide range of synonyms such as trash, garbage, refuse, junk, debris. It implies ‘waste’ as the verb that designates excessive squandering and the luxury our consumerist society has to do so. The title also refers to a deserted land, devastated by the depletion of resources through the sheer abundance of waste. Since the beginning of cultural history, waste has been an integral part of the functioning of socio-economic systems, whose evolution has culminated in the process of industrialization.
In past decades, waste, long considered as something worthless to be discarded, has in many ways achieved the status of a sought-after raw material. Converted into a commodity through the process of recycling, waste is reinserted into the economic cycle, entering a new value chain. Pioneering efforts in countries such as Switzerland result in high technologies, promoting methods of waste treatment and resource efficiency that counteract the fallouts of our wasteful society.Download Exhibition Catalogue
Aaditi Joshi holds a Diploma in drawing & painting from L.S. Raheja School of Art, Mumbai. Her last solo show, New Works was held at Gallery Maskara, Mumbai, India, 2011-12. Her other solo shows include Recent works, Museum Gallery, Mumbai, India, 2007 and Zero Opacity, Jehangir Art Gallery in Mumbai in 2005 Joshi has participated in several group shows, some of which include Waste Land, curated by Birgid Uccia, TARQ, Mumbai, India, 2018; Megacities Asia, curated by Al Miner and Laura Weinstein, Museum of Fine Arts, (MFA) Boston, USA, 2016; (M)other India, Galerie du Jour – Agnès B., Paris, France, 2011; India Art Summit, presented by Gallery Maskara, New Delhi, India, 2011; Moonwalk , Gallery Maskara, Mumbai, India, 2009; Video Wednesday, curated by Dr. Arshiya Lokhandwala, Gallery Espace, New Delhi, 2009; Present-future, curated by Dr. Sarayu Doshi, NGMA, Mumbai, 2005; Monsoon Show, Jehangir Art Gallery, Mumbai, 2001; Art Access Week, Birla Academy of Arts & Culture, Mumbai, 2000. She has also participated in group exhibitions at the AD Design Show, Mumbai, 2018, presented by TARQ; India Art Fair, New Delhi, 2011; VIP Art Fair (online); Mumbai Gallery Weekend and Hotspot, 2012; SH Contemporary, Shanghai, China (In collaboration with Arthub Asia and the Creative India Foundation), 2012. Aaditi was one of 20 artists shortlisted for the ŠKODA Prize 2012 and was awarded with a Fellowship for the Lucas Artists Residency Program 2012-14 at the Montalvo Art Center, CA, USA. In 2013, she was part of the UN POPOLO SENZA MEMORIA è UN POPOLO SENZA FUTURO (people without memory is a people without future), curated by Sumesh Sharma and Serena Trinchero, MK Search Art (MKSA) residency project ‘Contemporary Renaissance’, Indian-Italian cultural exchange program, Casa Masaccio, San Giovanni Valdarno, Tuscany, Italy. The artist lives and works in Mumbai, India.
Delhi-based Asim Waqif studied architecture at the School of Planning and Architecture, Delhi. After initially working as an art-director for film and television he later started making independent video and documentaries before moving into a dedicated art-practice. His recent projects have attempted a crossover between architecture, art and design, with a strong contextual reference to contemporary urban-design and the politics of occupying/intervening/using public spaces. Some of his projects have developed within abandoned and derelict buildings in the city that act like hidden activity-spaces for marginalized people.
Concerns of ecology and anthropology often weave through his work and he has done extensive research on vernacular systems of ecological management, especially with respect to water, waste and architecture. His artworks often employ manual processes that are deliberately pain-staking and laborious while the products themselves are often temporary and sometimes even designed to decay. He has worked in sculpture, site-specific public installation, video, photography, and more recently with large-scale interactive installations that combine traditional and new media technologies.
Boshudhara Mukherjee studied painting at the Maharaja Sayajirao University in Baroda and has been exhibiting actively since her graduation in 2008. She received the Pollock-Krasner Foundation Grant in 2013, the Inlaks Foundation Fine art award in 2010 as well as the NasreenMohammadi Foundation Scholarship in 2005-06. She has had four solo shows – ‘Canticle’ at TARQ, Mumbai (2016), umbaiat the Volte gallery and at ‘Soliloquy’ at Gallery Sarah in Muscat, Oman and ‘Dangling Conversation’ and ‘Painted Veil’ at Volte Gallery, Mumbai (2012 and 2010 respectively). Some of her group shows of note include the Fourth International Emerging Artist Award, Dubai, U.A.E (2015); Abu Dhabi Art Fair 2013 represented by the Bait Muzna Gallery, Muscat, Abu Dhabi; Women’s Art Symposium, Omani Society for Fine Arts, Muscat, Oman (2013) and ‘Monsoon Show’ Concern India Foundation Artist Centre Gallery, Mumbai, India (2010). Her Public Projects include ‘Women’s Art Symposium’, Muscat, Oman 2013 and ‘The Oryx Caravan’: Muscat, Oman 2010. In an attempt to merge the gap between ‘Art’ and ‘Craft’, Boshudhara has developed a unique technique: while she paints the canvas using acrylic and oil she also weaves the canvas, transforming its very nature as a carrier of paint. The canvas is the protagonist of Boshudhara’s art practice, going beyond its usual purview: it becomes a space: the painted canvas is cut and woven, sometimes more than once, creating and recreating the patterns, distorting them to create new, unexpected forms. Boshudhara draws inspiration from a pool of varied and eclectic sources: the delicate lines of a miniature painting, abstract expressionism, geometric patterns of neo-plasticism, repetitive patterns of architectural screens, as well as her grandmother’s sarees. This mixture of influences of form and technique give Boshudhara’s work a deep, layered meaning that calls to be unravelled, explored and found. She uses a variety of media in her works, most of these common materials of everyday use: plastic, paper, tapes, and cloth. These are either layered onto the canvas or stripped and woven into the work. The objective is to recycle the material, to re-contextualize it, strip it of old connotations and render a new meaning. While the viewer is stunned by the intricacies of the surface, the artist is quick to point that one must keep in mind the process behind the creation: the destruction without which its creation would have not been possible. Boshudhara states that her art practice is much like life: one has to pick up the pieces, rebuild and move on but the scars remain.
Tanya Goel holds an M.F.A in Sculpture from the Yale University School of Art, New Haven Faculty, PBS (Painting/Drawing), School of the Art Institute of Chicago (SAIC), Chicago, and a B.F.A. (Painting/drawing) from Faculty of Fine Arts, M.S. University, Baroda, India, Jaipur, India.
Her painterly practice is informed by surfaces that we constantly encounter - of architecture, of electronic signboards, of shadows and reflections and of moving images - and the density of experiences that such encounters unleash. Goel's bodies of work have focused on virtual grids/monitors and screens - as being surfaces that overlap excessive imagery; that emit light/colour but can also absorb attention; that distract as much as they fascinate; that flicker during instances of error and can cause any intended register of colour to slightly displace. In this preoccupation with screens, the desire is to see if our eyes might become attentive to the disjunction between colour as light/sight and the material pigments/technologies that embody colour. For Goel, these moments obscure a kind of spectacle-oriented (and homogenized) presentation of cities in the global milieu and reflect a sense of ambiguity, dis-identification and homelessness that is now vested in the nature of all things as well as spaces, despite illusory familiarity.
Prashant Pandey holds an M.F.A in Sculpture from the Faculty of Fine Arts, M.S. University, Baroda, India and a B.F.A. in Sculpture from Rajasthan University, Jaipur, India. Prashant has received the Lalit Kala Academy Award in 2009 and 2010 as well as the Bhupen Burman Award in the same year.
His first solo show, “Shelf-Life” was curated by Abhay Maskara in 2010 at Gallery Maskara, Mumbai, India. He was selected by the faculty at M.S. University, Baroda to be an artist in residence at Ecole des Beaux-Arts, France for four months in 2011. He was part of (M)other India, Galerie du Jour – Agnès B, Paris, France, 2011 and was on the longlist for the ŠKODA Prize 2011-2012. In 2012, Pandey participated in the India Art Fair, New Delhi and the ŠKODA Prize exhibition at the Lalit Kala Akademi, New Delhi and the VIP Art Fair 2.0 (online). “Shelf Life II” was Pandey’s second solo show at Gallery Maskara, 2012. In 2013 Pandey participated in the India Art Fair, New Delhi, India. In 2014 Pandey was selected by curator Jitish Kallat to participate in the Kochi-Muziris Biennale, Cochin, India. In 2016 he was part of a group show titled TIME at Gallery Maskara, Mumbai, India.
Kausik holds a B.A (Visual Art) from Rabindra Bharati University, Calcutta and a M.A (Fine Arts) from Viswa Bharati University, Shantiniketan. He has held fellowships at the Kanoria Centre for Art, CEPT, Ahmedabad and the Inlakhs Foundation. He currently teaches at the Kamla Raheja Vidyanidhi Institute for Architecture and Environment Studies.
His work has been exhibited and he has held residencies at various cities all around the world including the US, UK, and Australia. Some of his important involvements in art exhibitions include “Chairs, Assisted ready-mades” at the Century Cities Exhibition of the Tate Modern, London (2001), “Art on the Move” for Sahmat, New Delhi (2001), “Diverge” at National Gallery of Modern Art, Mumbai (2004) and the “Age of Desire” at Perth, Australia.
Kaushik Saha’s rich surfaces of sweeping gestural paint use mark-making techniques of a wide variety. His paint is often poured, dragged, splattered, daubed, scraped - allowed to congeal. In the large works on board the painted surface is often overlaid with zillions of rusty nails hammered on and then conjoined with lengths of copper wire zigzagging through the nail heads. Some of the works have flattened bicycle tyre tubes making up much of the surface on which paint is applied. The humble tubes, a signifier of everyday labour like the nails, and the copper wire, help him build a surface that allows him to camouflage a subversive narrative tableau that lurks within.
Kaushik chooses to be an observer with a sharp eye that draws our attention by sly referencing. His control over the syntax has not led him to smooth out the quirks. An ambitious attempt at bridging the two distinct tendencies, where the quotidian nestles in the lap of the grand narrative of painterliness marks him out. The stylist in him gives life to a style that underscores disequilibrium. His more recent works have become less wrenched by signs of aggression but preserve his penchant for subversive imagery.
Waste Land: Expulsion of today into yesterday and tomorrow
The connotations of the term ‘waste’ are many but what dogs us today is the ignorant consumerism that creates displeasure through waste as a byproduct of consumption to each one of us. The world appears to be separated by the era before polythene products and after it.01 Aug 2018Read More
This new exhibition sees waste through a different lens
What is old is new, what has been discarded is rescued and reassembled, resurfacing as something beautiful, something with message and purpose: A new exhibit at the TARQ gallery focuses on one of the most pertinent issues for our planet—waste—and forces us to look at it through a different lens.23 Jul 2018Read More
Walking into a mirage
Seven artists conjure surreal artworks out of discarded elements at Waste Land, an ongoing group exhibition at Tarq. Curated by Birgid Uccia, Waste Land is part of the biennial public diplomacy campaign, “70 years of Swiss-Indian Friendship: Connecting Minds - Inspiring the Future” by the Consulate General of Switzerland in Mumbai.20 Jul 2018Read More
Reused and Reborn
Waste, like death, is inevitable. As curator Birgid Uccia writes in her note about the ongoing group exhibition ‘Waste Land’ at Tarq in Mumbai. “Even an ideal society shall always generate remains as a sine qua non of the cycle of production and consumption.10 Aug 2018Read More
Enter a waste land
As part of the biennale public diplomacy campaign"70 Years of Swiss Indian Friendship", the Consulate General of Switzerland in Mumbai has organised an exhibition titled Waste Land. The TS Eliot-inspired title attempts to looks at waste with new eyes. While it refers to trash, the exhibition also looks at how the refuse of society also contains memory10 Jun 2018Read More
Artists who found inspiration in urban dust heaps and human wastelands
Can the rubbish heap be seen as a subject fit for art? Two new exhibitions, currently on at separate venues in Delhi and Mumbai, explore that question with a series of photographs and installation pieces on the theme of waste, writes Bhumika Popli.
Sunday Guardian09 Jun 2018