Brutalist architecture and an expansive urban jungle form the context for Shettar’s thoughtful and handcrafted sculptures.
Floating forms unfurl in Ranjani Shettar’s sculptural installation, Cloud songs on the horizon, responding both to the wildness of the conservatory’s planting and the surrounding Brutalist structure, writes Nyima Murry.
Ranjani Shettar’s ‘Cloud songs on the horizon’ suspends sculptures amid the Barbican Conservatory’s plant life.
The Indian sculptor Ranjani Shettar has been commissioned to respond to the space and she does so brilliantly. Using steel armatures cloaked in stained muslin cloth, Shettar has created sculptures that evoke fruits and seeds, insects and perhaps human forms, while remaining defiantly abstract.
Arriving at the Barbican Centre’s Conservatory space to experience the sculptural work of Indian sculptor Ranjani Shettar, Cindy Huang gets lost within an ever-overgrowing jungle, leading to thoughts on post-colonial reimaginings of the botanical space.
Fondation Vincent Van Gogh, Arles, France
Whitechapel Gallery, London
November 3, 2022 - April 30, 2023
The inaugural exhibition at the IAIA’s new location marks Indian artist Rummana Hussain’s first institutional solo presentation in the US with The Tomb of Begum Hazrat Mahal (1997). An expansive installation in which Rummana questions the representation of the minorities and of histories by trying to retrieve marginalized narratives of national and communal identities, focusing on the status of women while excavating the rhetoric of “other” in nationalist and religious institutions.
January 19 - January 22, 2023
Talwar Gallery is delighted to be part of FOG Design + Art 2023. Bringing together the works of Nasreen Mohamedi, Sheila Makhijani, Alwar Balasubramaniam, Ranjani Shettar and Bay Area artist Al-An deSouza, Talwar will present some of the most celebrated contemporary artists from India and its diaspora, working across media in painting, sculpture, drawing and photography.
Al-An deSouza’s experiments in photography routinely challenge everyday notions of the photograph as recording a fixed moment in time or providing reliable access to the past. This exhibition combines three recent photographic series—Flotsam (1926–2018), Elegies for Futures Past (and other Fugue States), and Anthology—with an earlier series, The Lost Pictures, in ways that question such notions about photography in relation to family memory, diasporic identity, and the broader sweep of historical change linked to colonial empire and its ongoing repercussions.
Talwar Gallery is delighted to participate in FOG Design + Art 2022. Bringing together the works of Nasreen Mohamedi, Sheila Makhijani, Alwar Balasubramaniam and Ranjani Shettar, Talwar is presenting some of the most celebrated contemporary artists from India, working mainly in abstraction across painting, sculpture, drawing and photography.
To commemorate its 150th Birthday, the MET commissioned 12 contemporary artists to create original prints for a limited edition portfolio: Jasper Johns, Richard Serra, Ed Ruscha, Kerry James Marshall, Julie Mehretu, Vija Celmins, Sarah Sze, Xu Bing, Siah Armajani, Gabriel Orozco, Wangechi Mutu, and Ranjani Shettar. We are honored and delighted that Ranjani Shettar is part of this illustrious group of artists.
The artists and artworks presented in Individuals, Networks, Expressions form a complex web of connections. Together, they create a story of visual art that unfolds across time and intertwines individual and shared experiences. At the centre of this web is Asia, a geographic designation and a broad cultural space that informs a spectrum of identities, histories, and perspectives.
The exhibition sets out to write the history of the contributions of women artists to abstraction with works dating from the 1860s to the 1980s. Far from being a mere catalogue, the exhibition reveals the decisive turning points that marked this development, the specific contexts for creation, the research conducted by the artists, individually or in groups, as well as the founding exhibitions.
Another Energy focuses on 16 female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Showcasing their wide array of powerful works from paintings, video, sculptures, to large-scale installations and performances, this exhibition contemplates the nature of the special strength - “Another Energy” - of these women who have all continued challenging throughout their long-standing careers.
Minds Rising, Spirits Tuning sets out to examine the spectrum of the extended mind through artistic and theoretical means. The Biennale argues for the primacy of plurality, positing that points of origin and influence ought to be accessed not only through the dominant technological systems and machinic vocabularies traceable to the West but also relate to heterodox ancestries.
The Phillips Collection, America’s first museum of modern art, celebrates its centennial with Seeing Differently. The exhibition marks the first major celebration of the museum’s permanent collection in over 10 years and includes works by Paul Klee, Mondrian, Rothko, Pollock, Picasso, de Kooning, Calder, Jacob Lawrence and Ranjani Shettar amongst others...
The Kiran Nadar Museum of Art turns ten this year. We celebrate the past decade, bringing back vignettes that will highlight the museum’s multi-focal vision, its evolving mission, directions and journeys undertaken, mapping intersecting histories of the subcontinent.
Taking as a point of departure her epistolary project Letters to Leena, a series of correspondences to her mixed heritage daughter, curator Jemma Desai and artist Jasleen Kaur present a selection of works from British experimental filmmaker Alia Syed.
The curatorial model of Sleeping with a Vengeance, Dreaming of a Life posits itself against an art industry’s paradigms of efficiency and production, which stand into relation to real conditions of production and often deprive exhibitions of their potentiality. The exhibition is instead taken as a medium which gives us an opportunity to share knowledge and create new meaning.
Migrating Worlds brings together work by eight of Britain’s leading film and video artists in the first exhibition at the Yale Center for British Art dedicated exclusively to the moving image.
Earth Songs for a Night Sky is a multi-faceted project by Ranjani Shettar. Occupying two rooms and the staircase of the original Phillips House, the project is conceived in dialogue with Wassily Kandinsky’s artist’s book Klänge (Sounds)—which features 56 woodcuts and was published right after he had made his breakthrough into abstraction—and Klee’s late paintings in the Phillips’s collection, including Arab Song (1932), Efflorescence (1937), and Figure of the Oriental Theater (1934).
Unhinged by events of 1992-93, Rummana embarked on a courageous pursuit to excavate the marginalization of the other, their means and sustenance. Now, over 25 years after they were first created by the artist they still resonate with renewed vigor, except what were local origins at the time are now pervasive around the globe, abundant in echoes of intolerance to secularism and self.
Arpita Singh is one of the most significant women artists in India. This retrospective exhibition at KNMA gives an extraordinary opportunity to view six decades of her art practice.
Kasturbhai Lalbhai Museum is very pleased to host the launching exhibition Alchemy: Explorations in Indigo of the Arvind Indigo Museum. Seeing indigo as an art form, the exhibition will have national and international artists using indigo in multiple media and forms to create a world of all things indigo.
New Cartographies delves into the unique ways that contemporary artists such as Tiffany Chung, Allan deSouza, Li Songsong, and Sohei Nishino are incorporating cartography into their practices as they look at globally relevant topics such as urbanization, economic migration, environmental change, refugee movements, and the repercussions of colonial legacies.
Allan deSouza’s Through the Black Country, or, The Sources of the Thames Around the Great Shires of Lower England and Down the Severn River to the Atlantic Ocean reenacts and upends iconic colonial narratives of discovery in Africa.
Engaging with videos or films in a dark or semi-dark space, where things come closer to life or create a world of their own, the presence of colour, touch, sound, movement, apparitions, light and shadow, draws one into a complex technological environment. One is moved by the potentiality of the mediums used by artists, their diverse and occasionally precarious themes processed through the intricacies of looped time and nuanced languages. The world of today is disenchanting and distraught, yet alluring and demanding, desiring poise and equilibrium
Light in Wartime brings together photographers whose works shed new light on war, both forensically and symbolically. In a world so hounded by images of war, many of the photographers featured in Light in Wartime challenge the conventions and limitations of traditional reportage, underlining the tensions between art, fiction, and photojournalism.
Usually composed of numerous nonrepresentational forms, Ranjani Shettar’s immersive environments are inspired by her observations of the now-threatened natural environs of her native India.
You Remind Me of Someone relies on mechanisms triggered by resemblance, mimicry, and reciprocity in order to explore our relationship to images in a world in which they multiply endlessly on a daily basis. The visual and gestural similarities between the works question affinities, elicit encounters, seek to find a common thread in this continuous flux.
DeSouza’s most recent work reenacts and upends iconic colonial narratives of discovery in Africa.
Lucid Dreams and Distant Visions: South Asian Art in the Diaspora, organized by Asia Society Museum with the support of the Smithsonian Asian Pacific American Center, considers the work of nineteen contemporary artists from the South Asian diaspora who explore notions of home and issues relating to migration, gender, race, and memory across mediums and aesthetics
Visions From India is a celebration of artists who proffer their own paths that link them to India and the rest of the world.
Visions From India is a celebration of artists who proffer their own paths that link them to India and the rest of the world.
Visions From India is a celebration of artists who proffer their own paths that link them to India and the rest of the world.
Allan deSouza, chair of UC Berkeley’s Department of Art Practice, presents an exhibition that reenacts and upends the traditional colonial relationship, positioning modern-day England as the object of investigation by an explorer from Africa.
The exhibition brings into focus the works of five artists who spent their formative years in Kerala and whose subversive art practice problematised the discourse of Indian Art in the 1980s and 1990s.
One of the most significant artists to emerge in post-Independence India, Nasreen Mohamedi (1937–1990) created a body of work that demonstrates a singular and sustained engagement with abstraction. The Met Breuer exhibition, the first museum retrospective of the artist’s work in the United States, is an important part of the Met’s initiative to explore and present the global scope of modern and contemporary art.
The Van Every/Smith Galleries and Davidson College are pleased to present Contents Under Pressure, featuring the works of Allan deSouza and Alia Syed.
Time / Image explores the interrelationship of time and thought in contemporary art. The exhibition borrows its title and, loosely, its philosophical framework from French philosopher Gilles Deleuze (1925–1995).
Nasreen Mohamedi was one of the first Indian artists to embrace abstraction, moving away from the more conventional doctrines of Indian modern art in the early decades of the 20th century. The exhibition, organised by the Museo Nacional Centro de Arte Reina Sofía and The Metropolitan Museum of Art, New York, in collaboration with the Kiran Nadar Museum of Art, New Delhi, displays her work – combining thought and action – in the intersections between her life and her art.
The Phillips Collection celebrates the fifth anniversary of Intersections, which since 2009 has presented the work of 22 artists—9 men and 13 women—from the US and abroad. This exhibition presents works by Intersections artists that have been acquired to date, both pieces that were featured in past installations and new works that are reminiscent or emblematic of the projects. Most importantly, the anniversary exhibition is a celebration of the Phillips’s mission to actively collect and display contemporary art.
This epic show takes Kazimir Malevich’s radical painting of a black square – first shown in Russia 100 years ago – as the emblem of a new art and a new society. The exhibition features over 100 artists who took up its legacy, from Buenos Aires to Tehran, London to Berlin, New York to Tel Aviv. Their paintings, photographs and sculptures symbolise Modernism’s utopian aspirations and breakdowns.
Galle Fort, Fort Kochi presents a series of 29 seascapes, intricately rendered in graphite on wood panels. Originally created as an installation at the 2014 Kochi Muziris Biennale, Galle Fort, Fort Kochi engages with an environment, the seaside, that is both specific and, as Cader points out, remarkably universal.
Nasreen Mohamedi reveals the artist’s significant contribution to modernism that expands the boundaries of Western art history and offers an opportunity to reconsider the meaning of abstract art. Featuring more than 50 of her works, Nasreen Mohamedi charts the evolution of Mohamedi’s work, exploring how she, like Mondrian, moved away from a figurative style and developed her own unique approach to abstraction.
This exhibition brings together a group of international artists active between the 1950s and today, all of whom explore new frontiers for abstraction. The line functions in a variety of ways, including: writing, weaving, notating, diary-keeping, nature, the body, the environment, and the everyday; each resulting in expanded, eroded, and perverted grids generated by a liberating line.
Abstract Drawing is Drawing Room’s fourth artist-curated exhibition, a strand of the programme that aims to provide insight into the ideas that inform the work of key contemporary artists.
At one level, the exhibition reflects upon the immediate and the impending political and social crisis through acts of resistance, and at another level, it becomes a site of recuperation and healing. The selected artists have been committed to a socially engaged practice since many years. Through their seminal works, themes that touch upon issues of oppression, violence, historical identity and cultural memory will be addressed in diverse formats and modes of representation.
The installation will juxtapose historical objects and architecture with works by contemporary artists that employ traditional Islamic styles, materials and subject matter as their source. Framed beneath the Museum’s stunning 17th century Persian mosaic arch, visitors will see how contemporary artists are drawing upon their cultural and visual past to explore personal, political, and aesthetic concerns.
Smart Museum of Art, Chicago IL | February 14 - June 9, 2013
Ackland Art Museum, Chapel Hill, NC | September 13, 2013 - January 5, 2014
Since 1989, the influential Delhi-based Sahmat has offered a platform for artists, writers, poets, musicians, actors, and activists to create and present works of art that promote artistic freedom and celebrate secular, egalitarian values.
In the history of Indian Modernism, Nasreen Mohamedi is a distinct figure who broke away from the mainstream art practice of the early decades of post-Independent India, choosing the less explored trajectory of the 'non-representational'.
The Asia Pacific Triennial of Contemporary Art is the Gallery’s flagship international contemporary art event, and the only major exhibition series in the world to focus exclusively on the contemporary art of Asia, the Pacific and Australia. APT7 continued the series’ forward-thinking approach to questions of geography, history and culture and how these questions are explored through the work of contemporary artists.
Ranjani Shettar’s Varsha, an artist’s book published by the Library Council of The Museum of Modern Art in late 2012, evokes aspects of 16 phases of the monsoon and the classical Indian astronomy used to predict them. The accordion-folding volume, bound in hand-worked metal, includes 16 original prints, each corresponding to a specific period of the rainy season.
Shettar's large installations draw inspiration from natural forms recalling the surreal beauty of magical creatures and sensuous landscapes. She gives imaginative form to natural phenomena as diverse and unique as the interaction of light and water, the luminescence of fireflies and the kinetic response of plants to sunlight.
Through the work of artists from India, Indonesia, Malaysia, Pakistan, the Philippines and Thailand, Beyond the Self: Contemporary Portraiture from Asia examines recent directions in contemporary self portraiture in Asia.
Now Here is also Nowhere is a two-part meditation and non-linear account of how—in making artworks about ideas and intangible concepts— artists continually question and destabilize the nature of the art object.
Experimental filmmaker Alia Syed makes her West Coast debut at the Los Angeles County Museum of Art (LACMA) with an installation of her film Eating Grass.
The 18th Biennale of Sydney, all our relations, was the first to be developed by a curatorial duo, Artistic Directors Catherine de Zegher and Gerald McMaster. De Zegher and McMaster proposed that an exhibition that could function as a collaboration between curators, artists and audience; a ‘collective composition’ that championed values of connectivity, conversation and compassion as models for being in the world.
The exhibition Lines of Thought explores the work of 15 contemporary artists, whose practice has focused in particular on using line in creatively challenging ways. With works representing different generations, it is remarkable to observe how the meaning and use of line varies from one artist to another.
Ranjani Shettar: Dewdrops and Sunshine showcases the artist’s unique approach to sculpture including material experimentation, relationship to space, engagement with nature, exploration of tradition and resonance with modernism.
Allan deSouza’s new video and photographic installation, Close Quarters and Far Pavilions, consists of a four-channel video work of multiple sequences shot from inside commercial flights at the time of take-offs and landings. The title, influenced by M.M. Kaye’s 1978 novel about conflicting identities and split loyalties set in India and Afghanistan, suggests the aircrafts’ cramped spaces and the hand-to-hand combat of “close quarters,” as well as the exotic allure of faraway places.
barely there is a two-part group exhibition that explores issues of immateriality, presence, absence, performance, and the performative. The exhibition also considers the ability of art to engage broad and often intangible concepts by generating a series of connections rather than functioning as a prescribed whole.
The World Series (2010–11) features a group of 30 color photographs by Allan deSouza created in response to Jacob Lawrence’s The Migration Series (1940–41), from The Phillips Collection.
Intersections is a series of contemporary art projects that explores—as the title suggests—the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. Whether engaging with the permanent collection or diverse spaces in the museum, the projects suggest new relationships with their own surprises.
Conceived specifically for the Phillips, Sk(in) is a two-part installation occupying the Hunter Courtyard and adjacent gallery space, thereby playing off the artist’s idea of inside-out, outer and inner, and visible and invisible.
Ranjani Shettar’s installation at Third Floor-Hermès embodies the magnanimity and enigma of the “Flame of the Forest” – a majestic tree considered sacred by Hindus. Its structure and resonance are the basis for this ethereal, sculptural installation that permeates physical and psychological space.
The participating artists will conceive the works based on the perception of sound and ambience, gesture, memory, passage of time, the laws of the world and the social mechanism that go by unnoticed in our daily life.
The exhibition focuses on two new series by San Francisco-based performance and photo-conceptual artist Allan deSouza. The artist uses digital manipulation to play with notions of artistic and technological mastery and to blur the boundaries between photography and painting.
RANJANI SHETTAR in
On Line: Drawing Through the Twentieth Century
For Touched, Ranjani Shettar experimented with bronze and presents an elegant installation in the Vide at the Bluecoat that provoked a conversation about the touch between materials and architecture. Cast using the ancient lost wax process, Shettar’s work drew attention to the process of casting bronze.
The Farthest Point brings together new and recent works by the internationally recognized photo-conceptual artist Allan deSouza.
Dreamlands develops a new purpose: to show how international fairs, world exhibitions and leisure parks have been able to constitute models that have influenced the design of the city and its uses. Indeed, if such models have shaped the imagination, nourished utopias as well as the creations of artists, they have also become realities, in which real-life comes to be inscribed, modifying our relationship to the world and geography, to time and history, to the notions of original and copy, of art and non-art.
Since its opening in 1959, the Frank Lloyd Wright–designed Guggenheim building has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. The central void of the rotunda has elicited many unique responses over the years, which have been manifested in both site-specific solo shows and memorable exhibition designs.
Milton Keynes Gallery is delighted to announce a major solo exhibition of work by important Indian artist Nasreen Mohamedi. Her diary pages, drawings and photographs combine Western influences such as Paul Klee and Kasimir Malevich with Islamic architectural forms and a South Asian sensibility, resulting in an intensely personal body of work.
Unlike many contemporary Indian artists currently exhibiting their work internationally, Shettar has maintained close connections to Bangalore, India, where she was born and educated. Her artistic vocabulary is akin to those of postminimalist artists such as Martin Puryear and Eva Hesse, insofar as she explores a variety of materials and displays an interest in both handwork and the conceptual dimensions of art objects.
More than forty years have passed since minimalist artists first began incorporating the space of the gallery into their artistic work, but the impact of sculpture that reflects the inherent possibilities and limitations of its setting has hardly diminished. This practice is fundamental to the work of the artist Ranjani Shettar, although her focus is not solely on the display environment or even the notion of sculpture as it is understood in this realm.
The work of the English artist of Indian descent Alia Syed (Swansea, United Kingdom) is on display for the first time in Spain at this exhibition. Her work Eating Grass (2003), is a succession of sequences in public and private spaces of three cities (London, Karachi and Lahore), assembled as a collage.
Ranjani Shettar creates large-scale, abstract sculpture by combining manmade and natural materials such as wood, beeswax, cloth, thread, rubber, PVC pipe, wire, steel, and beads. Her works, which appear to be as impulsive and random as they are patterned and logical, are frequently arranged as sculptural installations that interact with and articulate the space around them.
Third Triennial opens at Guangdong Museum of Art and its satellite museum, Time Museum, consisting of 181 artists from over 40 countries. The curators GAO Shiming, Sarat MAHARAJ and Johnson CHANG Tsong-zung brought together artists that examine the limits of multi-culturalism in a post-Colonial era and the effects on contemporary art production.
The Biennale aims to contribute to “blurring distinctions between center and margin” as well as to a “break from the past of discrimination and exclusivity”, and is organized by Artistic Director Okwui Enwezor, with Co-Curators Hyunjin Kim and Ranjit Hoskote. deSouza will participate in MYDADA, a group effort with the artists Yong Soon Min and Abdelali Dahrouch.
Known as one of the preeminent international surveys of contemporary art, the International was founded simultaneously with the Carnegie Museum at the behest of Andrew Carnegie. It has consistently been among the most innovative and challenging exhibitions of contemporary art-the only regularly scheduled global survey in North America, and the only one presented in a museum.
The artist's first solo presentation in a U.S. museum will feature a new work entitled Sun-sneezers blow light bubbles. The suspended sculpture made with steel, tamarind kernel powder and muslin, and fashioned into organic shapes reminiscent of soap bubbles, containers of light, or multiplying cells hanging throughout the gallery, creates an immersive, ethereal environment.
Thierry Raspail, creator of the Lyon Biennale, named this year's 00's-The History of a Decade That Has Not Yet Been Named, reflecting his vision of a biennial as a visual history book written by several hands. 60 "players" form two circles, one of curators and critics, and one of artists, to decide which artist or work defines the decade. Co-curated by Stephanie Moison and Hans Ulrich Obrist.
Documenta 12 investigates three questions: is modernity our antiquity, what is bare life, and what is to be done (concerning education)? Artistic Director Roger Buergel and Curator Ruth Noack sensitively address these issues with all conceivable media, very few art star names, and work form diverse countries.
Still Life Art, Ecology and the Politics of Change, aims to be both a "celebration of the natural world and a response to the countless alarms being set off as a result of human thoughtlessness." Mohammad Kazem, Eva Scharrer, and Jonathan Watkins, with Artistic Director Jack Persekian and Director Hoor Al Qasimi, create an eclectic show of artists whose work addresses ecology.
Museum of Contemporary Art, San Diego | March 4 - July 16, 2007
Vancouver Art Gallery | October 4, 2008 - January 11, 2009
The first comprehensive exhibition to examine the international foundations and legacy of feminist art, Wack! focuses on 1965 to 1980, during which the majority of feminist activism and art-marking occurred in North America. Comprising work in a broad range of media, the exhibition considers geography, formal concerns, and collective aesthetic and political impulses. Curated by Connie Butler.
The Asia Pacific Triennial of Contemporary Art (APT) is Queensland Art Gallery's flagship international contemporary art event. The fifth APT (APT5) is the opening exhibition at the new Gallery of Modern Art-the largest gallery of modern art in Australia. APT5 is directed by Doug Hall, and curated by the Queensland Art Gallery team: Lyne Seear, Andrew Clark, Suhanya Raffel, Julie Ewington.
In its inaugural year, the Biennial addresses relationships between natural, social, and economic environments and effects on people and landscapes in and between countries.
Singapore's inaugural international Biennale of contemporary art and the anchor cultural event for Singapore 2006: Global City. The theme is Belief, wherein artists reflect upon their own beliefs as well as the nature of belief itself-combining street culture and visual art in order to make art part of everyday life. Directed by Fumo Nanjo, Deputy Director of the Mori Art Musuem.
Freeing the Line, curated by Catherine de Zegher, considers the departure of the line from the paper and into space, juxtaposing "drawings without paper" (as Gego titled them)-works made of wire and thread by artist in the late sixties and early seventies-with contemporary drawings.
This biennale included 85 artists and collaborations from 57 cities in 44 countries, exploring the theme "Zones of Contact." Dr. Charles Merewether, the Artistic Director and Curator described the theme as about places where people live and move, concerning cities, settlements, and the merging and separation of public and private areas where people encounter one another.
International Center of Photography, New York | March 10 - My 28, 2006
Miami Art Central, Miami, FL | June 29 - August 17, 2006
Museo Tamayo, Mexico City | February 14 - May 6, 2007
Memphis Brooks Museum of Art, Memphis, TN | February 29 - May 25, 2008
An exhibition of some of the most forceful propositions by contemporary artists and photographers on how to look at Africa.
Douglas Fogle selected Ranjani Shettar to be an International-Artist-in-Residence at Artpace. Shettar's project involves two works that utilize biological research in a considered treatment of material-incorporating native woods to join with the local environment. Ranjani Shettar is the first artist from India invited to this prestigious residency.
Unfixed Being features six recent works by A. Balasubramaniam. Convincing, his trompe l'oeil sculptures posit illusion as the means for viewers to access the works. Curated by Brad Thomas.
An exhibition of twenty-four young contemporary Indian artists, most of whom emerged during the 1990s-when both globalization and post-modernization were consolidated as the "New World Order." The exhibition aims to present a wide range of work to an audience that has had no exposure to contemporary Indian art. The works evoke something of the texture of life in India today.
Now in its sixth incarnation, the British Art Show is widely regarded as an essential guide to the most significant art from Britain. As an expression of the recent and the imminent, it offers a wide-ranging account of contemporary British art and is the most ambitious exhibition of its kind. The exhibition is organized by Hayward Gallery, and it tours every five years in cities across the UK.
Out There brings together artists from Britain, Australia, Africa, Brazil, Japan, India and Poland for a three-week residency. They are invited to make site-specific works in the woods and parkland next to the Sainsbury Centre. In the woodlands, Ranjani Shettar constructs a work about transformation via a fence of branches which support webs of bright red fabric.
Offering a fresh look at undiscovered talents, J'en Rêve captures the energy and promise of youth, shedding light on the lifestyles and desires of a new generation. The exhibition includes the work of more than 100 artists in their twenties from such diverse places as India, Argentina, Iran, and Thailand.
Nasreen Mohamedi: Lines among Lines, introduces the contemplative abstract drawings and photographs of the influential yet under-recognized Indian artist Nasreen Mohamedi (1937-1990). Lines among Lines will be the first solo exhibition in New York to focus primarily on Mohamedi’s drawings.
This exhibition brings together for the first time the work of Ranjani Shettar and Alwar Balasubramaniam, two leading young artists from Bangalore, India. Their work, in common, explores boundaries between personal and cosmic dimensions, physicality and immateriality, the man-made and the natural, and tradition and modernity. Curated by Loretta Yarlow.
Wexner Center for the Arts, Columbus, OH | January 29 - May 1, 2005
Contemporary Arts Museum, Houston, TX | July 23, 2005 - September 11, 2005
Orange County Museum of Art, Newport Beach, CA | February 5 - May 7, 2006
This exhibition brings together the work of thirteen artists expanding the boundaries of traditional landscape painting. They embrace the decorative and blur distinctions between art and craft, using materials and techniques that range far beyond paint on canvas.
Museum Kunst Palast, Düsseldorf, Germany | July 24 - November 7, 2004
Hayward Gallery, London, UK | February 10 - April 17, 2005
Centre Georges Pompidou, Paris, France | May 25 - August 8, 2005
Mori Art Museum, Tokyo, Japan | May 27 - August 31, 2006
Museum for African Art, New York, NY | November 14, 2013 - March 1, 2004
Peabody Essex Museum, Salem, MA | March 27 - June 20, 2004
Cranbrook Art Museum, Bloomfield Hills, MI | September 11 - November 28, 2004
Museu Calouste Gulbenkian, Lisbon, Portugal | January 25 - April 3, 2005
Museum of the African Diaspora, San Francisco, CA | April 6 - July 10, 2006
Walker Art Center, Minneapolis, MN | October 11, 2003 - January 11, 2004
Hammer Museum, University of California, Los Angeles, CA | February 8 - May 9, 2004
Museo de Arte Contemporanea de Vigo, Spain | May 28 - September 19, 2004
Fotomuseum Winterthur, Switzerland | November 19, 2004 - February 20, 2005
Miami Art Center, Miami, FL | March 11 - June 12, 2005
This ambitious display of 170 works by 130 artists aims for the first time to reveal the full range, variety and originality of Britain's film histories, from films made close to the cinema's birth in the 1890s to work realized at the start of the 21st century. Many of the works have not been seen before in a gallery context, and some have been seen publicly since their first screenings.
This exhibition examines ways that globalization, or "new internationalism in art," affects visual culture. Featuring twenty-eight artist from Brazil, China, India, Japan, South Africa, Turkey and the United States whose practices transcend national boundaries without surrendering their specificity.
New Art Gallery Space, Walsall, UK | February 1 - March 10, 2002
TheSpace@inIVA, London, UK | February 6 - March 15, 2002
Gallery of Modern Art, Glasgow, Scotland | June 7 - September 8, 2002
Turnpike Gallery, Leigh, UK | June 22 - August 4, 2002
Features evocative and poetic film works made over a period of fifteen years by the British Asian artist Alia Syed.
Carving city blocks out of discarded computer chips and building forests from lampshades, Artist-in-Residence Allan deSouza creates a new photographic landscape series out of industrial debris and detritus found in the area. deSouza recylces the city's castoffs to create microcosmic representations of the city iteslef. The result is the Terrain series of chronographic prints.