, Muzzumil Ruheel
, Pratap Morey
, Saju Kunhan
, Samit Das
, Tanmoy Samanta
, Vishwa Shroff14 May - 26 May, 2020
In this current moment, we find ourselves physically restricted, yet connected more than ever before from within our four walls. Suddenly our private spaces are turned (both physically and virtually) public, as we work, eat and socialize all within the confines of our homes. It is in this reality, that we cannot help but think of the role of architecture in all our lives. As we grapple to understand what a socially distant world will mean, we reflect on the once transient histories that echo in our stories. After looking at the effects that the quarantine has had on the outside world in our first exhibition, Resurgence, our second online show, Navigating Geometries, is decidedly inward looking. Through a single work each by the artists Boshudhara Mukherjee, Muzzumil Ruheel, Pratap Morey, Saju Kunhan, Samit Das, Tanmoy Samanta and Vishwa Shroff, we try to continue to explore, contextualize and make sense of our current landscape. The exhibition will be accompanied by a series of live conversations and a talkthough of the works on Instagram, in an attempt to recreate some of the physical programming that we are all missing out on at the moment. Click here to enter Online Viewing RoomDownload Exhibition Catalogue
Boshudhara Mukherjee (b.1983) 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 Nasreen Mohammadi Foundation Scholarship in 2005-06. Her last solo show ‘Canticle’ was at TARQ, Mumbai in 2016. She has had three other solo shows, two in Mumbai at the Volte gallery and at the Gallery Sarah in Muscat, Oman. Some of her group shows include ‘Emerging Canvas 5’, Inko Center, Lalit Kala Academi, Chennai (2018); ‘Waste Land’, curated by Birgid Uccia, TARQ, Mumbai (2018); 4th International Emerging Artist Award, Dubai, U.A.E (2015); Abu Dhabi Art Fair 2013 represented by the Bait Muzna Gallery, Muscat, Abu Dhabi (2013); 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. She lives and works in Bengaluru.
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 has had exhibitions nationally and internationally. His work is part of important public and private collections. Solo and group shows includes, Tapestry of Fading Gardens, 1x1 Gallery, Dubai.Between the Sun and the Moon, Lahore Biennale. India Art Fair, Tarq, Delhi, India. Confessions of the wait, 1 X 1 Art Gallery, Dubai. 2020. Misunderstandings..., Canvas Gallery Karachi, Pakistan. 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.
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, New 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. Morey 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). He currently lives and works in Mumbai, India.
Saju Kunhan (b. 1983) began his artistic training in his home state of Kerala, at the Government College of Fine Art, Thrissur. After receiving his BFA degree, he went on to pursue his MFA in painting from the Sir J.J. School of Art, Mumbai. In 2014, Kunhan received a Post-Graduate Diploma degree in Museology and Conservation from CSMVS Museum, Mumbai. Kunhan had his first solo exhibition, "Stained Geographies" at TARQ, Mumbai in 2017. He has been a part of exhibitions all across the country. Some of his recent exhibitions of note are - "Traversing Histories", two person show curated by Jitha Karthikeyan at Artimis Cars, Chennai (2019); India Art Fair, represented by TARQ, Mumbai (2019); "Mapping Frontiers", group show curated by Lina Vincent Sunish as part of the Krishnakriti Festival, Hyderabad (2018); "Mattancherry", curated by Riyas Komu at URU Art Harbour, Kochi (2017); "Young Subcontinent", curated by Riyas Komu at the Serendipity Arts Festival, Goa (2016); “Scape & Scope”, anniversary group show of TAO Art Gallery at Jahangir Art Gallery, Mumbai (2016); “Liminal Affinities”, the inaugural exhibition at Nine Fish Art Gallery, Mumbai (2015); “The Deep Inside”, two man show at Kalakriti Art Gallery, Hyderabad (2015) and “Memento Mori”, a group show at TARQ, Mumbai (2015). He currently lives and works in Mumbai.
Born in 1970 in Jamshedpur, Samit Das began his formal artistic training at Kala Bhavan, Santiniketan in 1994, where he continued on to his Masters degree two years later. In 2000, he participated in the Associate Student Post Graduate Program at the Camberwell College of Art, London. Das has also been the recipient of the BRIC scholarship which led to him spending some time in Italy in 2011.
Samit Das is deeply fascinated with documentation and the archive. Das' love for the archive and his Santiniketan roots culminated in a documentation project at the Tagore Museum in Kolkata between 1999 and 2001. He went on to work on another project in the form of an exhibition titled “The Idea of Space and Rabindranath Tagore” that was exhibited in various spaces including Lalit Kala Academy (New Delhi), India International Centre (New Delhi) , Victoria Memorial Hall (Kolkata) and Freies Museum (Berlin). He has exhibited extensively in India and abroad while also participating in projects such as the art installation project at the international airport in Mumbai which was curated by Rajiv Sethi. Samit Das lives and works in New Delhi.
Tanmoy Samanta (b. 1973) began his artistic journey at the Kala Bhavan in Santiniketan, West Bengal, followed by training at the Kanoria Arts Centre, Ahmedabad. His career has seen a number of solo exhibitions including three with the New Delhi based Gallery Espace and one at Anant Art Gallery, Kolkata. Samanta’s show at TARQ in 2014, titled The Shadow Trapper’s Almanac, curated by Ranjit Hoskote, marked his first solo exhibition in Mumbai. Portraits in Time is his second solo show with TARQ in 2017. Over the years, Samanta has been a part of group shows across India and abroad. Recently, he was part of a group exhibition, Known Unknown, organized by the Raza Foundation, in collaboration with Vadhera Art Gallery, 2020. Besides finding a presence in numerous art fairs such as Art Dubai, Dhaka Art Summit, Art Chennai and India Art Fair, his works are a part of several prestigious public art projects such as the installation at the Hyatt Regency, Delhi (2016), a site specific collaborative project at IIM Ahmedabad (2016), T-2 Liminus, Mumbai International Airport (2013) and Bee-Hive at the Hyatt Regency, Chennai (2011) – both curated by Rajiv Sethi. In 2002, Samanta artistic practice was recognized and celebrated with an award from the Pollock-Krasner Foundation, New York, USA. He lives and works in New Delhi.
Vishwa Shroff’s artistic practise is firmly rooted in drawing, with a proclivity towards architectural forms that serve as compelling take-off points for a deeper contemplation on memory and our relationship with the material world. Her works seek to explore the narratives of lived experiences that lay embedded within surfaces. Mundane accidents and absent-minded aberrations – a missing tile in a floor for example – simultaneously become signifiers of the presence of absence and the potential of a future presence. Through her sensitive observation, Shroff chronicles the banal to unravel the sublime within it. The sharp lines and the intense detailing underscore her meticulous approach to her medium of choice. While Shroff often includes watercolour (and more recently, gold leaf) in her drawings, the precision of the drawn line forms the definitive aspect of her oeuvre. Shroff’s works are born within the space of her sketchbook. The initial sketches metamorphose into detailed works that are the product of observation and interpretation. The drawings within the modest space of the sketchbook are sometimes substantially enlarged to the scale of installations, as seen in her “Corridors” series. The format of the book, however, remains close to Shroff. She has worked extensively with this format in the past and continues to use it as the base for the initial framework. Shroff’s love for architecture and the stories that are folded within it is apparent in her “Party Wall” series that form something of a cornerstone in her practice. Her work on the “Party Wall” (shorthand for partisan walls that lie concealed between two buildings) began in 2015 while she was in London and has since, developed into the ‘Tokyo series’ and most recently, the ‘Interim Party Wall’ series inspired by her travels in Ho Chi Minh, London, Vadodara and Rome. The Party Walls were presented along with two other series – ‘Transitions’ and ‘Guards at the Taj’, at TARQ’s debut participation at Art Basel Hong Kong 2018. The ‘Transitions’ series is a continuation of Shroff’s observation of floors in spaces of historical significance. These jewel-like works, created using watercolour and ink on paper, evoke the patient precision of a miniaturist's hand. For Shroff, the discreet, unusual disjoints are the repositories of many collective and individual histories. The ‘Guards at the Taj’ on the other hand, started out as a project to create a set for a play of the same title. It has extended beyond its initial purpose to mark an interesting aesthetic development as she moves away from her definitive stark, Japanese-inspired aesthetic to a more animated and whimsical style. Speaking about her relationship with drawing, Shroff says – “With drawings placed firmly at the centre of my practice, I experiment with drawing techniques, bringing attention to exaggerated marks, break points and the richness of line itself...(her works) aspire to become perimeters within which momentary recollections and personal musings are sustained.” Shroff started her artist training at The Faculty of Fine Arts, MSU, Baroda in 1998 after which, she continued on to the Birmingham Institute of Art and Design (UK) in 2003. She has had seven solo exhibitions in India, the UK and USA as well as several group shows. She has also participated in several artist residencies, namely at the Swiss Cottage Gallery in Camden, London in 2017. Her work was a part of TARQ’s presentation at the India Art Fair 2017 and Art Basel Hong Kong 2018. Recently, she had her second solo exhibition, Folly Measures at TARQ, Mumbai in January, 2020. Shroff currently lives and works between Mumbai and Tokyo.
Platform: Navigating Geometries
The Exhibition In this current moment, we find ourselves physically restricted, yet connected more than ever before from within our four walls. Suddenly our private spaces are turned (both physically and virtually) public,as we work, eat and socialize all within the confines of our homes. It is in this reality, that one cannot help but think of the role of architecture in all our lives. As we grapple to understand what a socially distant world will mean, it's time to reflect on the once transient histories that echo in our stories.
After looking at the effects that the quarantine has had on the outside world in the first exhibition, Resurgence, the second online show, Navigating Geometries, is decidedly inward looking. Through a single work each by the artists Boshudhara Mukherjee, Muzzumil Ruheel, Pratap Morey, Saju Kunhan, Samit Das, Tanmoy Samantaand Vishwa Shroff, try to continue to explore, contextualize and make sense of our current landscape.The exhibition will be accompanied by a series of live conversations and a talkthough of the works on Instagram, in an attempt to recreate some of the physical programming that we are all missing out on at the moment.
Platform Magazine23 May 2020
Mojarto: Exhibition Alert : Navigating Geometries at Tarq Gallery
A virtual display of our spaces fragmented by geometry and reinforced by our perception – Navigating geometries by TARQ promises to be quite engaging. The show ‘Navigating Geometries held virtually by the TARQ gallery from the 14th of May onwards, is apt to our current reality as we face the lack of any structure within our lives and observe an emergence of shapes within our surroundings. What we imagine as home has become abstracted because we have observed enough of our spaces to reflect them in our minds in a geometric language. The same is seen here as the artists abstract their thoughts and their immediate reflections to create an echo of the space through structured inversions.
Mojarto22 May 2020
Mumbai Mirror- View interesting artworks
Mumbai Mirror22 May 2020