, Apnavi Makanji
, Muzzumil Ruheel
, Nibha Sikander
, Pratap Morey
, Rithika Merchant
, Ronny Sen
, Sameer Kulavoor
, Saubiya Chasmawala
, Savia Mahajan30 January - 02 February, 2020
The intention of this year’s booth at India Art Fair is to showcase varied artists represented by TARQ, highlighting each practice that focuses on unique issues ranging from nature, memory, climate crisis to the beauty of rural landscape and everyday life in the urban concrete jungle. The ten artists work across a multitude of mediums, including photography, sculpture, paper-cut, printmaking, painting and site-specific material to best convey their preoccupations. Whether you look at Nibha Sikander's layered moths, or Savia Mahajan's sculptural works , each one is engaged with contemporary issues from species endangerment to the power of language and our very place in the universe.
Aaditi Joshi (b.1980) holds a Diploma in drawing & painting from L.S. Raheja School of Art, Mumbai. She recently had a solo show, New Works at TARQ in 2019. Other solo exhibitions include, New Works was held at Gallery Maskara, Mumbai (2011-12); Recent works, Museum Gallery, Mumbai (2007) and Zero Opacity, Jehangir Art Gallery in Mumbai (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; Midnights Grandchildren a group Show curated by Girish Shahane at studio X, Mumbai 2014 (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. Her works have been showcased in various exhibitions at the India Art Fair, New Delhi, 2020 and India Art Fair, New Delhi, 2019 presented by TARQ; AD Design Show,Mumbai, 2018, presented by TARQ Mumbai ;VIP Art Fair (online); Mumbai Gallery Weekend 2012, Hotspot, 2012 SH Contemporary art fair , Shanghai, China (In collaboration with Arthub Asia and the Creative India Foundation), 2012 ; India art fair New Delhi 2011 presented by Gallery Maskara, Mumbai. 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. Aaditi currently works and lives in Mumbai, India.
Apnavi Makanji (b. 1976) is a visual artist who uses the mediums of drawing, installation and video to talk about a composite of issues: displacement, social conditioning, environmental concerns, explorations of memory and the idea of “home” and how this synthesis interacts with the construct of urban spaces and the socio-economic structure of our times. Their last solo show was Soil as Witness, Memory as Wound was exhibited at TARQ in 2019. Their other solo shows include,Travails of the Wandering Memory Seed , Galerie Felix Franchon, Brussels (2016); Domus Vulgus, Art Asia Miami (with support from The Guild NY), Miami (2010); Domus Vulgus, The Guild, NY (2010); and Run While You Can, Chatterjee and Lal/Jehangir Nicholson Gallery NCPA, Mumbai (2006). Recently, they participated in Dhaka Art Summit (February, 2020) and India Art Fair in Delhi (January, 2020). They have participated in several group exhibitions including Remembering the Present, Vadehra Art Gallery, New Delhi (2018); Carnets, Halle Nord, Geneva (2017); Season 1: Frontiers, Galerie Felix Frachon, Brussels (2017); Raving Disco Dolly on a Rock ‘n’ Roll Trolley, Envoy Enterprises, NY (2014); Considering Collage, Jhaveri Contemporary, Mumbai (2013); Caution- Children at Work, curated by Gitanjali Dang, Mumbai Art Room, Mumbai (2011); I think Therefore Graffiti, The Guild, Mumbai (2010/2011); Domestic Policy, South Asian Women’s Creative Collective, The Guild, NY (2009) amongst others. Apnavi currently works and lives in Geneva.
Muzzumil Ruheel is a visual artist based in Karachi. He was born in Lahore in 1985 and is a graduate of the School of Visual Arts, Beacon House National University (BNU) 2009. He has been part of the faculty at the Indus Valley School of Art and Architecture (Karachi), the School of Visual Arts, Beacon House National University (Lahore) and the Visual Studies Department at the Karachi University. Muzzumil’s work is fuelled by the social fabric of society that surrounds him. From political developments to the incessant chatter of everyday life, his work seeps and weaves through all that is mundane. Muzzumil has established himself as a young, contemporary artist, exhibiting nationally and internationally.His work is part of important public and private collections. Muzzumil has exhibited solo and in group shows. In Other Wor(l)d (solo), Canvas Gallery, Art Dubai , The Quantum City, International Public Art Festival, Karachi, Pakistan, Pioneer Artist Residency III, Canvas Gallery, Khushaab, Pakistan, Indian Art Fair, Tarq, Delhi, India 2019, Baato Se Baat Nikalti Hai (solo), Tarq , Mumbai, India , Point of no return (solo), Rohtas Gallery, Lahore, Pakistan , In between the lines (solo) Art Dubai, The Museo Diocesano Carlo Maria Martini, Milan, Italy, Multiple Narratives, Grosvenor Gallery, London, UK 2018, Hearsay (solo) Canvas Gallery, Karachi, Witness, Karachi Biennale 17, KSA, Karachi, Pakistan, Imago Mundi Project. La Biennale di Venezia 2017, Lost in his own garden (solo) Grosvenor Gallery, London, Colombo Biennale, Srilanka, Digging deep, crossing far, Kunstraum Kreuzberg/Bethanien, Berlin, In letter and spirit, Tarq, Mumbai 2016, The alternate life of lies (solo) Canvas Gallery, Karachi 2015, And his beard grew and grew and grew (solo), Rohtas Gallery, Lahore, Letter Of Apology, Abhisaran Booth, Indian Art Fair, India, Dolce Gusto, Mohatta Palace Museum, Karachi, Pakistan 2015, Letter of apology (residency) Kaladham Museum, Vijyanagar 2014, ...but some of them never happened (solo), Canvas Gallery, Karachi the Young Moscow International Biennial, Moscow Museum of Modern Art, Russia 2014, Present Re-Inventions, Grosvenor Gallery, London 2014. He was also a part of the Abhisaran Residency, India – a collateral event of the Kochi Biennale 2014. Earlier his work was shown at Lawrie Shabibi Gallery, Dubai, Wip Konsthall, Stockholm, Sweden, Still Exotic, Collaborative Project, Cairo Documenta, Egypt, Space Invader, Aicon Gallery, London, UK, Bastakiya Art Fair, Dubai, Through Other Eyes, Aberystwyth Arts Centre, Herbert Art Gallery, Coventry and The Glynn Vivian Gallery, Swansea, Wales, UK, Parallel Lines, Cartwright Hall, Bradford City Art Gallery and Museum, UK, Media as Medium, UDK, Berlin, Germany and many others.
Nibha Sikander (b.1983) has done her Bachelors (2006) and Masters (2008) in Visual Arts (Painting) from the Maharaja Sayajirao University, Vadodara. In 2019, Nibha had her first solo exhibition, Wandering Violin Mantis at TARQ.Since her graduation, she has been part of several group exhibitions, some of which include ALCHEMY: Explorations in Indigo, Kasturbhai Lalbhai Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09). She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March - May 2010).She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005.Recently, she has participated in India Art Fair 2020 in Delhi. Nibha currently works and lives in Murud-Janjira and Mumbai.
Pratap Morey is a Mumbai-based artist with a post-graduate diploma in Indian Aesthetics from Mumbai University and a Graduate degree in Fine Art from Vasai Vikasini College of Visual Arts. His solo exhibitions include Concrete Ciphers, TARQ, Mumbai (2019), Lost right Angle, Space Gachang, Deagu, South Korea (2017) and measure | decipher, TARQ, Mumbai (2015). He has participated in several curated group shows, including Under Construction, curated by Anuj Daga, Khoj Artist Association, New Delhi (2018); Planes of Experience, Zones of Action, curated by Kaiwan Mehta, Gallery Max Muller Bhavan, Mumbai (2017), Jeonnam International Sumuk Pre-biennale, Jeollanam-do, South Korea (2017); Red moon song, curated by Georgina Maddox, Apeejay Art, New Delhi (2016); Imagined futures, Reconstructed past, curated by Meera Menezes, Gallery Anant, New Delhi (2016); The Unbearable Closeness of Being at Gallery Engendered, New Delhi (2015); the Art on Paper biennale at the Weatherspoon Art Museum, North Carolina, USA (2014); Interstices at the Kochi-Muziris Biennale (2012); Stop Making Sense at False Ceiling Gallery, Mumbai (2012); and @rt Virtually Real at Art Alive Gallery, New Delhi (2012) among others. His art fair participation includes India Art Fair, Delhi (2020), represented by TARQ, Mumbai; AD Design Show, Mumbai (2018) and India Art Fair, Delhi (2017), represented by TARQ, Mumbai; United Art Fair, co-curated by Meera Menezes under the Artistic Direction of Peter Nagy, New Delhi (2013) and India Art Fair, New Delhi (2013), represented by Art Alive Gallery. He has participated in residencies at several institutions such as Space Studios, Vadodara, India (2017); Gachang Art Studio, Deagu, South Korea (2017); Harmony Art Foundation, India (2015); the Artists-In-Residence programme hosted by the President of India at the Rashtrapati Bhavan, New Delhi (2014); CRACK International Residency, Bangladesh (2013); Space 118, Mumbai (2012); and Uttarayan Art Foundation, Vadodara (2012). He is also the recipient of the Bendre- Husain-Scholarship, India (2013) and the La Critique award at Salon des Réalités Nouvelles, France (2012). Recently, his work was showcased at the Tarq Booth C03 at India Art Fair in Delhi (2020).
Rithika Merchant (b. 1986) received her Bachelor’s Degree in Fine Arts from Parsons - The New School of Design, New York (2008). Since graduating, she has exhibited her work extensively, including a number of solo exhibitions in India, Spain, Germany, France and the United States. Her most recent solo shows include Where the Water Takes us at TARQ, Mumbai (2017); Ancestral Home at Galeria Bien Cuadrado, Barcelona (2017); Intersections at Galeria Combustion Espontanea, Madrid (2016); Luna Tabulatorum at Stephen Romano Gallery, New York (2015); and Encyclopedia of the Strange at Tiny Griffon Gallery, Nuremberg (2014). Her recent group exhibitions include Spring! A Group Show of Contemporary Drawing at Galerie LJ, Paris (2019); Homo Faber at The Michaelangelo Foundation, Venice ( 2018) ; Portal at October Gallery, London (2018); Sensorium / The End Is Only The Beginning Sunaparanta, Goa Centre for the Arts, Goa (2018); This Burning Land Belongs To You at the Swiss Cottage Gallery, London (presented by TARQ for Camden Kala, UK/ India Year of Culture 2017); Language of the Birds: Occult and Art at 80WSE Gallery, New York (2016); and a two-person show, Reliquaries: The Remembered Self at TARQ, Mumbai (2015). Her work has also been included in group shows at The New Gallery, Calgary (2017); Summerhall, Edinburgh (2015) and The Morbid Anatomy Museum, New York (2015). She has also collaborated with Chloé, a French fashion house on multiple collections for which she was awarded the Vogue India Young Achiever of the Year Award at its Women of the Year Awards 2018. She was also named one of Vogue Magazine’s Vogue World 100 Creative Voices. Recently, she participated in India Art Fair, Delhi (2020). She currently divides her time between Mumbai and Barcelona.
Ronny Sen (b. 1986, Silchar) is a film director, writer and photographer based in Calcutta. His debut feature film 'Cat Sticks' world premiered in the competition section at Slamdance Film Festival, 2019 where it won the jury honorable mention. He has previously directed television documentaries for BBC. He started his career as a photographer and has made two artist books, Khmer Din (2013) and End of Time (2016). Recently, he participated at the India Art Fair in Delhi (2020). He received the Getty Images Instagram Grant in 2016 for his work in Jharia coal mines which were shown in his debut solo exhibition in 2018 titled, Fire Continuum at TARQ in Mumbai.He was invited to be an artist in residence in Poland by the Polish Institute in 2016 and in Japan by The Japan Foundation in 2013. His works are included in the permanent collection of the Alkazi Collection of Photography.
Sameer Kulavoor (b.1983) is a visual artist living and working in Mumbai, India. His work lies at the intersection of art, graphic design & contemporary illustration and has taken the form of paintings, murals, books, zines, prints and objects. He is interested in why things look the way they do; constantly exploring and understanding the impact that time, culture, politics and socio-economic conditions have on our visible and invisible surroundings. In this age of visual overload, his work involves filtering, dissecting, documenting and de-familiarizing commonly seen subjects through the act of drawing, painting and design. Some of the zines he has produced include Sidewalks & Coffeeshops (2009), Zeroxwallah Zine (2011), The Ghoda Cycle Project (poster-book, 2012), Blued (book/zine, 2013) and Oh Flip (flipbooks, 2013). He exhibited The Ghoda Cycle Project at WDC Helsinki in 2012 and in Mumbai in 2013 while also collaborating with Paul Smith on a series of Ghoda Cycle Tee-shirt designs which were released worldwide. He presented select sketchbook drawings from between 2012 and 2016 as large serigraphs at Artisans', Kalaghoda, in a show titled 'Please Have A Seat' (2016). He has been working on a number of large scale public art projects and paintings which are on view in Auckland (New Zealand), Mumbai, Bengaluru, Delhi and Chennai. ‘A Man of the Crowd’ (2018) was Kulavoor’s first solo presentation at TARQ. His work, 'This is Not Still Life' was showcased at the Tarq Booth C03 at India Art Fair in Delhi (2020). In 2019, two of his works were showcased at the TARQ booth group show at India Art Fair. Also, his drawings and paintings were part of ‘The Shifting City’ - Mumbai pavilion of ‘Making Heimat - Arrival City’ at the Goethe Institut Max Mueller Bhavan curated by Kaiwan Mehta in 2019. Kulavoor was the founder of Bombay Duck Designs which is presently directed by graphic artist + urdu/arabic typography specialist, Zeenat Kulavoor. Along with artist/designer Lokesh Karekar (Locopopo), Kulavoor also founded and curated six issues of 100%ZINE (currently on hiatus) – a visual arts magazine that discovers and showcases a wide range of visual art talent from India and abroad.
Saubiya Chasmawala (b.1990) received her Masters in Visual Arts from Vadodara’s Maharaja Sayajirao University, Fine Arts, specialising in painting (2015). She interned under the paper-artist Anupam Chakraborty in hand paper-making at the Nirupama Akademi, Kolkata. Recently, Saubiya had her second solo exhibition, Batin at TARQ in Mumbai (2019). In September 2017, she had her first solo exhibition, Pilgrimage of Historical Oversights, at Clark House initiative in Mumbai. She has been a part of various group shows including Words of Her Seeing, Conflictorium, Museum of Conflict, Ahmedabad (2019); In letter and spirit, TARQ, Mumbai (July 2016); Unwinding, Nazar Art Gallery, Vadodara, India (November 2016); Reading Room, a travelling exhibition curated by Amit Jain, Winchester School of Art, University of Southampton, United Kingdom (October 2015) and New York (September – October 2016) and Emerging Palettes, an exhibition of paintings, Srishti Art Gallery, Hyderabad (August 2015). Her work was also exhibited at the India Art Fair, represented by TARQ (2018), and CIMA award show (February 2017). Recently, Saubiya was part of the India Art Fair in Delhi (2020) and Artist’s Program at The Space Studio, Baroda (February-April, 2019). She has been an artist-in-residence at the Blueprint12 Studio, Vadodara (July-December 2015) and at the TIFA working studios in February 2017. She is a recipient of the prestigious Nasreen Mohamedi Scholarship Award (2011-12) and Inlaks Fine Art Award (2016). She currently practices her art in Vadodara at her personal studio.
Savia Mahajan began her formal artistic training in her home city of Mumbai, at the L.S. Raheja School of Art. Though she trained as a painter, since 2010, Savia’s practice began moving away from the medium of painting, towards ceramics. The transition was the result of a “relinquishing of traditional art mediums (and) a deeper inquiry about practice.” She has since, worked extensively at a local pottery studio in Mumbai, which has given her the space to experiment and develop many of her ceramic processes and techniques. These developments in Savia’s practice resulted in Liminal—her first solo exhibition at TARQ in September, 2017. This was followed by a landmark group exhibition—Mutable: Ceramics and Clay Art in India Since 1947, curated by Dr. Annapurna Garimella and Sindhura D.M. at the Piramal Art Foundation, Mumbai. Savia has recently been a part of several projects including India Art Fair in Delhi (2020), her solo project Resurgō at TARQ’s booth, Art Basel, Hong Kong (2019); and group presentations including the Second Edition of The Sculpture Park, The Madhvendra Palace, Nahargarh Fort, Jaipur, curated by Peter Nagy (2018-19) and the Indian Ceramics Triennale, Jaipur, (2018). Savia lives in Mumbai and works in a Ceramic studio consisting of a gas kiln which she set up in an Industrial space in Mumbai, 2018.
AD magazine: Sneak Previews
Sameer Kulavoor's reflections of every day street-life often focus on the otherwise invisible classes- fruit sellers, scavengers, hawkers. For 2020, Kulavoor will design IAF's facadem which will cover three exhibition tents. "Titled This is Not a Still Life, it will be India's biggest commissioned canvas yet," says fair director, Jagdip Jagpal.
Architectural Digest14 Jan 2020
AD – Delhi: 5 things to look forward to at the India Art Fair 2020
India Art Fair Director Jagdip Jagpal reveals exciting things planned for the country’s biggest art show in DelhiIndia Art Fair (IAF) is the biggest exhibition of contemporary and modern South Asian Art in the country, and 2020 marks its 12th edition. Jagdip Jagpal took on her role as fair director in 2018, and since then has been instrumental is giving this exhibition a distinct identity. “Why should someone attend India Art Fair? We needed to make it clear that we are a one-stop shop for contemporary South Asian art with superior curation. The potential art market is very small and we need to grow that by growing an interest in art. The artists and their art is the core of everything we do.”
Architectural Digest23 Jan 2020
Open. Attitudes and Identity
Accessibility does seem key for many such planned interventions. The facade of the main exhibition halls will be covered by a canvas upon which Sameer Kulavoor will have painted instances and scenes from the everyday life of everyday people, alerting us to moments of aesthetic splendour that can go unnoticed because we haven’t been trained to look at them as artful. From the geometry of baskets piled one upon the other to mattresses stacked such that they form a wall, human figures are positioned harmoniously in relation to objects in Kulavoor’s work. One imagines that seeing visual depictions of familiar objects could make contemporary art feel less elitist and alienating to visitors who may not necessarily be ‘from’ the art world.
Open31 Jan 2020