Catalogo India

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SIDE BY SIDE
LADO A LADO
Arte Contempornea Indiana
Indian Contemporary Art
Centro Cultural Banco do Brasil, Rio de Janeiro - 24 de outubro de 2011 a 29 de janeiro de 2012
Centro Cultural Banco do Brasil, So Paulo - 14 de fevereiro a 29 de abril de 2012
SESC Belenzinho, So Paulo - 25 de fevereiro a 29 de abril de 2012 (ndia - LADO A LADO)
Centro Cultural Banco do Brasil, Braslia - 22 de maio a 29 de julho de 2012
SIDE BY SIDE
LADO A LADO
Organizao / Organization Realizao / Presentation
Ministrio da Cultura e Banco do Brasil apresentam
Banco do Brasil patrocina
Ministrio da Cultura e Banco do Brasil publicam o catlogo da mostra
NDIA LADO A LADO, que integra a exposio NDIA! e apresenta
obras de mais de vinte artistas que vivem nesse pas asitico e cuja
trajetria vem se destacando significativamente no cenrio internacional.
A partir de fotografias, esculturas, pinturas, vdeos e instalaes, os
trabalhos selecionados, alguns elaborados especialmente para esta
exposio, expressam momentos distintos da cultura indiana ligados a
questes histricas, sociais, econmicas e urbansticas.
Na era da internet e das viagens, influncias internacionais esto sendo
assimiladas com rapidez. Artistas indianos utilizam linguagens tradicionais
ao mesmo tempo em que se alinham com as tendncias contemporneas
do planeta. A figura, a narrativa e o ornamento, fundamentos da arte
indiana, vm perdendo sua relevncia em virtude da alterao de foco
e de percepo da identidade, mas a tradio continua sendo fonte
indispensvel de inspirao. Essa tradio viva permite que o passado
coexista com o presente e seja reformulado constantemente por artistas
contemporneos.
Ao publicar este catlogo, o Centro Cultural Banco do Brasil espera
registrar de forma perene esta exposio e multiplicar a possibilidade de
acesso arte produzida atualmente na ndia, estimulando o conhecimento.
Centro Cultural Banco do Brasil
The Brazilian Ministry of Culture and Banco do Brasil are publishing the
catalog for the show NDIA LADO A LADO [India Side by Side],
which is part of the exhibition NDIA! and features artworks produced by
more than twenty artists who live in that Asian country, all with outstanding
careers on the international scene.

The photographs, sculptures, paintings, videos and installations selected
for the show, some of which were produced especially for this exhibition,
express different moments of Indian culture linked to historical, social,
economic and urbanistic issues.

In the era of Internet and the upsurge in traveling worldwide, international
influences are being quickly assimilated. Indian artists use traditional
languages while also aligning their production with contemporary trends
around the globe. The figure, narrative and the ornament fundamental
elements of Indian art have been losing their relevance in light of the
recent changes in focus and the perception of identity, but tradition
continues being an indispensable source of inspiration. This living
tradition allows the past to coexist with the present and to be constantly
reformulated by contemporary artists.

By publishing this catalog the Centro Cultural Banco do Brasil aims to
provide a permanent record of this exhibition and multiply the possibility
of access to art currently being produced in India, thus raising awareness
concerning it.
Baiju Parthan
Local / Global
Deepak Ananth
ndia - Lado a Lado / Arte Contempornea Indiana
India - Side by Side / Indian Contemporary Art
Tereza de Arruda
Bharti Kher
Gigi Scaria
Jitish Kallat
Manjunath Kamath
Nalini Malani
PIX Collective
Pushpamala N.
Raqs Media Collective
Ravinder Reddy
Reena Kallat
Riyas Komu
Sheba Chhachhi
Shilpa Gupta
Surekha
Thukral & Tagra
T.V. Santhosh
Vishal K. Dar
Vivan Sundaram
Vivek Vilasini
Currculos dos artistas
Curriculums of the artists
Bibliografia
Bibliography
Crditos / Agradecimentos
Credits / Aknowledgements
37
09
27
41
45
49
53
57
61
65
69
73
77
81
85
89
93
97
101
105
109
113
117
125
127
8 9
Deepak Ananth
Local/Global
10 11
A arte contempornea indiana ganhou maior visibilidade internacional a partir do final dos
anos 1990, na esteira da globalizao qual o pas fora catapultado no incio daquela dcada.
Depois de adotar, por mais de quarenta anos, um modelo de economia protecionista e de
fidelidade ao conceito de Estado-nao, o governo indiano optou pela liberalizao de suas
polticas econmicas, abrindo o pas entrada de capital estrangeiro. O livre comrcio a fora
motriz e a promessa de lucratividade do sistema mundial ao qual a ndia parece sucumbir
inexoravelmente, na contramo do desenvolvimento planejado que os fundadores da Repblica
defendiam ao fim do regime colonial britnico, em 1947. A ideologia do mercado que prevalece
na atualidade globalizada vem transformando o pas, a ponto de torn-lo irreconhecvel:
condomnios fechados e shopping centers, o verniz da cultura corporativa e os estilos de vida
de grife que o acompanham esses so os atrativos da ndia resplandecente, segundo o
slogan publicitrio de autopromoo lanado pelo governo. Mas a velha e prosaica ndia, terra de
contrastes, est mais presente do que nunca se formos considerar no apenas suas conhecidas
diversidades lingusticas regionais, que formam o mosaico cultural do pas, mas tambm os
mais contundentes de todos os contrastes: as colossais disparidades socioeconmicas entre
uma minoria urbana cada vez mais afluente e o resto da populao, 70% da qual vive da
atividade agrcola. Nos ltimos anos, a situao catastrfica de endividamento nas regies
rurais, resultante da eroso das polticas agrcolas protecionistas do Estado, levou camponeses
a cometer suicdio em massa. Essa a realidade local do sistema global que a ndia hoje
integra. O extremismo hindu de direita, ameaa latente para a aliana secular que um princpio
fundante da constituio indiana, pertence em grande parte a essa realidade. O mesmo ocorre
com as tenses geopolticas que rapidamente chegam ao limite do militarismo entre a
ndia e seus outros territoriais, o Paquisto e a China, para no dizer da violncia endmica
provocada no pas por conflitos inter-religiosos e pela revolta dos dalits, ou intocveis, contra
as injustias do sistema de castas. O cotidiano nas megalpoles em crescente expanso
nas quais Delhi, Bombaim (Mumbai), Calcut (Kolkata) e Bangalore se transformaram no
menos desgastante: o trnsito, os congestionamentos, a poluio, o rudo, a superpopulao e
o tumulto. Assim o mundo existencialmente espantoso da atual populao indiana, e, nesse
contexto, nos artistas que devemos buscar o sentido imaginrio atribudo a esse universo.
Uma parcela da arte mais interessante produzida desde meados da dcada de 1990 na ndia
registra a tentativa seja ela consciente ou no de negociar as contradies culturais da
liberalizao econmica que lanou o pas no sistema global: a globalizao compreendida no
apenas como o movimento livre das commodities, mas como espao de circulao de bens
culturais, um campo de fora, por assim dizer, articulado em torno do eixo local/global. Tal eixo
traz a pblico a questo da especificidade cultural da interveno do artista, como por exemplo
o recurso aos materiais autctones com uma carga simblica particular e sua configurao em
uma linguagem formal, reconhecidamente internacional. (A instalao artstica, por exemplo.)
Contemporary Indian art gained in international visibility from the late 1990s onwards, in the wake
of the globalisation into which the country was catapulted earlier in that decade. After more than
forty years of adherence to a model of a protectionist economy and allegiance to an idea of the
nation-state, the Indian government opted for a liberalisation of its economic policies, opening the
country to the influx of foreign capital. Free trade is the motivating force and lucrative promise
of the world-system to which the country seems to be inexorably succumbing, the very opposite
of the planned development envisioned by the founding fathers of the republic in the aftermath
of independence from British colonial rule in 1947. The ideology of the market that is triumphant
in the globalised present is transforming the country beyond recognition: gated communities and
shopping malls, the veneer of corporate culture and the branded lifestyles that go with it these
are the blandishments of shining India, to borrow the self-aggrandising publicity slogan put out
by the government. But the old common place of India as a land of contrasts is more topical
than ever, if we take it to designate not just the well-known linguistically-grounded regional
diversities that make up the countrys cultural mosaic but the starkest contrast of all: the colossal
socio-economic disparities between an increasingly affluent urban minority and the rest of the
population, seventy percent of which is dependent on agricultural revenues. The catastrophic
situation of indebtedness in rural regions in recent years resulting from the erosion of the states
protectionist agricultural policies has led to peasants committing suicide en masse. This is the
local reality of the global system of which India is now a part. The latent menace represented
by right-wing Hindu extremism to the secular covenant that is a foundational tenet of the Indian
constitution is very much part of that reality, as are the geopolitical tensions readily escalating
into military brinksmanship between India and its territorial others, Pakistan and China, not
to mention the endemic violence within the country provoked by inter-religious conflicts and
by the revolt of the dalits, the untouchables, against the injustices of the caste system. Daily
life in the increasingly sprawling megalopolises that Delhi and Bombay (Mumbai) and Calcutta
(Kolkata) and Bangalore have become is not less fraught: the traffic, the pollution, the noise,
the overcrowdedness, the clamour and the congestion. This is the existentially bewildering life-
world of those who live in India today and it is to the artists among them that we must turn for the
imaginative sense they make of it.
Some of the most interesting art produced from the mid-1990s onwards registers an attempt
whether consciously or not to negotiate the cultural contradictions of the economic liberalisation
that has projected India into the global system: globalisation understood not only as the free
movement of commodities but as the space of the circulation of cultural signs, a force-field,
as it were, articulated around the local/global axis. Such an axis throws up the question of the
cultural specificity of the artists intervention, as, for example, the recourse to indigenous materials
with a particular symbolic charge and its configuration in a formal language that is recognisably
international. (Installation art is a case in point.) The tension thus created between subject matter
12 13
A tenso gerada entre temas ou matrias-primas fixados num contexto local especfico e os
protocolos de apresentao que se prestam a serem vistos como parte de uma lngua franca
transcultural o que permite o surgimento de um senso crtico de diferena os traos
diferenciais que marcam a indianidade, por assim dizer, da arte indiana no contexto mais
amplo do internacionalismo, este supostamente o produto cultural da globalizao.
O internacionalismo facilmente toma a forma de uma espcie de ps-modernismo, e, se por
um lado h evidncia do pastiche e do ecletismo estilstico que Fredric Jameson sabidamente
identificou como algumas das mais importantes caractersticas ps-modernistas, essas
estratgias ldicas no raro ganham um vis crtico aguado nas mos dos praticantes mais
socialmente engajados ou civicamente conscientes.
O eixo local/global introduz uma dicotomia ancestral na arte moderna indiana, entre tradio
e modernidade, que foi um leitmotiv ou tpos para artistas nas duas dcadas seguintes
Independncia. Essa polaridade mais antiga tomou a forma de um engajamento com o
estilo ocidental conhecido como modernismo, em paralelo com uma afirmao de identidade
ps-colonial. O meio privilegiado era predominantemente pictrico, com notvel preferncia
pela arte figurativa, embora variedades de abstrao tambm florescessem. Depois veio um
momento pop, do qual as pinturas que Bhupen Khakhar realizou a partir do final da dcada
de 1960 so emblemticas, caracterizadas por uma mistura audaciosa de alto e baixo
que, em retrospecto, poderia ser vista como uma incurso proto-ps-modernista na cultura
de massa. Curiosamente, em termos do complexo tema da periodizao da arte indiana no
contexto internacional, a fase inaugural da obra de Khakhar contempornea com o momento
minimalista representado pela arte rigorosamente no-objetiva de Nasreen Mohamedi.
E so essas duas posies antpodas que marcam uma particular conjuntura histrica da
arte a preceder o advento da globalizao, embora seja a mistura despreocupada de gneros
ludicamente promulgada por Bhupen Khakhar, e no a geometria imaculada e exclusiva
adotada por Nasreen Mohamedi, que projetou uma sombra mais ampla sobre os artistas
que ganharam proeminncia na ltima dcada do sculo XX. Khakhar foi o precursor do
movimento que adotou a figura humana como recurso renovado para a pintura no final dos
anos 1970, da mesma forma que estabeleceu um precedente para a explorao de formas
de narrao pictrica que estiveram iconogrfica e tematicamente ancoradas numa realidade
social vivenciada. O deslocamento para uma prtica artstica mais ampla veio na dcada de
1980, manifestado notadamente por um interesse no trabalho com tcnica mista e, mais tarde,
por uma explorao das modalidades da instalao como modalidade artstica. Vivan Sundaram
o precursor nesse campo: tendo iniciado sua carreira na pintura no final dos anos 1960, os
imperativos polticos que sempre foram inseparveis de suas escolhas estticas o levaram a
trabalhar alm dos limites da moldura da obra pictrica.
or raw materials rooted in a particular local context and the protocols of presentation that lend
themselves to be seen as part of a transcultural lingua franca is what allows for a critical sense
of difference to come into play the differential traits that betoken the Indianness, as it were,
of Indian art in the wider context of the internationalism that is globalisations purported cultural
dispensation. This internationalism easily morphs into a species of postmodernism, and while
there is evidence of the pastiche and stylistic eclecticism that Fredric Jameson has famously
identified as some of the leading postmodernist tropes, these playful strategies often have a
pointed critical edge in the hands of the more civic-minded or socially engaged practitioners.
The local/global axis subsumes an earlier dichotomy in modern Indian art, the one between
tradition and modernity that was a leitmotif or topos for artists in the two decades after
independence. This older polarity took the form of an engagement with the western period
style known as modernism in tandem with an affirmation of a postcolonial identity. The
medium favoured was predominantly pictorial, with a marked preference for figurative art,
although varieties of abstraction also flourished. Subsequently, a Pop moment, of which
Bhupen Khakhars paintings from the late 1960s onwards are emblematic, characterised by
an audacious mix of high and low that, in retrospect, could be seen as a proto-postmodernist
foray into mass culture. Interestingly, in terms of the complex issue of the periodisation of Indian
art in an international frame, the inaugural phase of Khakhars work is contemporaneous with a
minimalist moment, as represented by the rigorously non-objective art of Nasreen Mohamedi,
and it is these two antipodal positions that mark a particular art historical conjuncture
preceding the advent of globalisation, although it is the insouciant mlange of genres playfully
promulgated by Bhupen Khakhar rather than the pristine, rarefied geometry practised by
Nasreen Mohamedi that has cast a longer shadow on the artists who came to prominence
in the last decade of the twentieth century. As for Khakhars peers, it was he who was the
precursor of the turn towards the human figure as a renewed resource for painting in the late
1970s, just as it was he who set the precedent for an exploration of forms of pictorial narration
that were iconographically and thematically anchored in a lived social reality. The move into
a more expanded field of art practice comes in the 1980s, manifested notably by an interest
in mixed media work, and then by an exploration of the modalities of installation art. Vivan
Sundaram is the precursor in this field: starting off as a painter in the late 1960s, the political
imperatives that have always been inseparable from his aesthetic choices have led him to a
practice beyond the limits of the pictorial frame.
14 15
Para os artistas que surgiram na dcada de 1990, a herana do passado uma sobrecarga menor do que foi para
seus antecessores, e eles so mais livres em seu instinto de misturar e combinar, tomar emprestado e furtar elementos
nativos e importados. Suas obras tendem a ser despudoradamente hbridas, polivalentes e heterogneas. No raro
trata-se de enxertar o vernculo no cosmopolita, de fazer inseres entre o provinciano e o metropolitano. Essa a
intuio de Subodh Gupta ao transpor, como coordenada temtica e formal de sua arte, a trajetria que percorreu ao se
mudar da ndia semirrural e de cidades pequenas para a capital. Assim, o uso de estrume de gado bovino como suporte
de um autorretrato feito no incio de sua carreira proclama abertamente suas razes provincianas, mesmo quando faz as
vezes de sindoque do mundo da vida rural na ndia, dado que exerce mltiplas funes na economia domstica dos
povoados, especialmente como combustvel no fogo e como base para o reboco nas paredes. Gupta tem sido muito
inventivo na maneira como transmuta o cotidiano em produo artstica corrente. Os utenslios de cozinha em ao
inoxidvel brilhante encontrados na grande maioria das residncias de classe mdia na ndia e que Gupta emprega
em arranjos formais no cho, ou em trabalhos posteriores, seja na forma de conjuntos compactos seja como elementos
de uma configurao antropomrfica no so apenas objetos de uso, mas tm valor de troca, visto que geralmente
fazem parte do dote das noivas do povoado.
Ao inserir esses itens em um contexto no-utilitrio, talvez Gupta estivesse brincando com o produto como signo, exceto
que o fetichismo a sugerido movido internamente pela natureza culturalmente codificada das mercadorias em questo.
(O mais irnico que os pouqussimos indianos abastados que pensariam em adquirir uma obra feita de utenslios de
ao inoxidvel no os utilizaria mesa... E, tendo em vista a atual projeo de Gupta no cenrio internacional da arte,
a consagrao dos itens que ele apropria do cotidiano do povoado ou da cidade pequena na ndia inevitavelmente os
converte em commodities no mercado da arte.)
For the artists who emerged in the 1990s, the heritage of the past is less of a burden than it was for their predecessors
and they are freer in their instinct to mix and match, borrow and pilfer indigenous and imported elements. Their works
tend to be unabashedly hybrid, polyvalent, heterogenous. Often it is a question of grafting the vernacular to the
cosmopolitan, of sliding between the provincial and the metropolitan. This has been Subodh Guptas intuition when
he transposes the trajectory of his move from semi-rural small-town India to the capital as the formal and thematic
coordinates of his art. Thus the use of cow dung as the background of an early painted self-portrait unembarrassedly
proclaims his provincial roots even as it stands as a synecdoche for the life-world of rural India in that the primary
material serves multiple functions in the household economies of villages, notably as fuel for the kitchen fire and as
plaster for the walls. Gupta has been ingenious in the way he transmutes the everyday in the currency of art. The
kitchen utensils in shiny stainless steel that are ubiquitous in most middle-class homes in India that Gupta deploys
as formal arrangements on the floor, or in later works, as compact clusters or as the elements of an anthropomorphic
configuration, are not only objects of use but have an exchange-value, too, in that they usually form part of the villages
brides wedding dowry. By inserting these items in a non-utilitarian context Gupta would appear to be playing with the
commodity-as-sign, except that the fetishism thus implied is internally riven by the culturally coded nature of the goods
in question. (The larger irony is that the affluent minority of Indians who would consider acquiring a work made of
stainless steel utensils would stop short of using them as a dinner service Inevitably, given Guptas current celebrity
on the international art scene, his consecration of the items that are part of the object-world of village and small-town
India also converts them into commodities in the art market.)
Subodh Gupta
O caminho de casa (II) / The Way Home (II), 2001
fibra de vidro, utensilhos de ao inoxidvel, alumnio, cromo e insulfilme /
fiberglass, stainless steel utensils, aluminum, chrome, sun film
vista da instalao no Henie Onstad Kunstsenter, Noruega, 2001 /
installation view at Henie Onstad Kunstsenter, Norway, 2001
Cortesia do artista e de / Courtesy of the Artist and Nature Morte
Fotografia / Photograph: Gavin Jantjes
Subodh Gupta
16 17
As ligaes afetivas de Sheela Gowda com o universo do
trabalho tanto o labor braal de operrios construindo e
consertando estradas, como as tarefas ditas femininas
parecem ter reforado sua tica de criao artstica baseada na
verdade dos materiais. A reverberao potica das substncias
arcaicas que ela utiliza estrume seco, pigmento em p,
cinzas de incenso, chapas de metal banhadas em alcatro
indissocivel do respeito moral que ela declaradamente guarda
por aqueles que manuseiam esses materiais para ganhar a
vida com dificuldade. As estruturas rudimentares construdas
com chapas de tambor achatadas e banhadas em alcatro so
exemplares. com esse material que trabalhadores itinerantes
contratados como diaristas para executar tarefas tais como
estender cabos ou fazer manuteno de estradas constroem
seus barracos, muitas vezes ao lado do local onde passam o
dia trabalhando. Gowda utiliza essas estruturas precrias como
mdulos de uma escultura-residncia que, em razo de todas
as suas associaes formais (transitrias) com a condio
minimalista de objeto, sugerem a vida de pobreza de onde
foram arrancadas. A predileo da artista por materiais pobres
tambm reflete um engajamento com questes ambientais.
Alm disso, as afinidades de seu trabalho com a Arte Povera
estendem-se a preocupaes com reciclagem e com uma
economia de meios que igualmente esttica e ecolgica.
O aspecto artesanal de alguns de seus trabalhos reflete o
interesse de Gowda em mediar a arte e o artesanato por
meio de uma reorientao subjetiva das qualidades fsicas e
metafricas de certas substncias.
Sheela Gowdas affective links with the world of labour the manual toil of workers building and mending roads as
much as so-called womens tasks seems to have reinforced a work ethic based on a truth to materials. The poetic
resonance of the archaic substances she deploys dried cow dung, powdered pigment, incense ash, tarred metal
sheets is indissociable from her avowed moral esteem for those who handle these materials to eke out a living.
The rudimentary structures made out of flattened tar drum sheets is a case in point. This is the material out of which
migrant labourers hired on a daily basis for such tasks as laying cables or road repair construct their makeshift shelters,
often adjacent to the site at which they have worked all day long. Gowda transposes these summary structures as the
modules of a sculptural form-cum-dwelling that, for all its (fleeting) formal associations with minimalist objecthood,
is redolent of the vita povera from which it has been wrested. Her predilection for poor materials also reflects an
engagement with environmental issues and such affinities as one might discern with Arte Povera extend to concerns
about recycling and an economy of means that is aesthetic and ecological in equal measure. The artisanal aspect of
some of her work reflects Gowdas interest in mediating between art and craft by way of a subjective reorientation of the
physical and metaphorical qualities of certain substances.
Sheela Gowda
Um cobertor e o cu / A Blanket and the Sky, 2004
instalao, chapas, alcatro e cobertor / installation, tardrum sheets and blanket
267 157 88 cm
Fotografia / Photograph: Gurumurthy Hegde e / and Das
Cortesia da imagem / Image courtesy: GALLERYSKE e / and Sheela Gowda
Sheela Gowda
Coleo da artista / Artists Collection, Bangalore
Sheela Gowda
E... / And..., 2007
instalao site-specific - cordas, agulhas, fios, pigmento, cola /
installation in situ - cords, needles, thread, pigment, glue
2 cordas de / cords of 11250 x 1 cm, 1 corda de / cord of 5250 x 1 cm
Fotografia / Photograph: Roman Mrz
Cortesia da imagem / Image courtesy: GALLERYSKE e / and Sheela Gowda
Sheela Gowda
18 19
O contraste entre, por um lado, a abordagem ldica da manipulao de signos culturais por Subodh
Gupta, e, por outro lado, a seriedade moral de Sheela Gowda no seu engajamento com esses signos,
revela as infinitas possibilidades entre essas duas posies. O uso do bindi (a marca ou ponto de
pigmento vermelho que as mulheres aplicam testa para denotar seu estado civil) de plstico por
Bharti Kher como elemento multiplicador de um vocabulrio de formas ornamentais funciona como um
subterfgio astucioso e espirituoso das codificaes de gnero encapsuladas nesse signo diminuto, porm
simbolicamente ressoante. Outra forma de subverso proposta por Anita Dube, que recorre aos olhos
de vidro tradicionalmente usados como oferendas votivas dedicadas a dolos nos templos, mas que a
artista emprega como se fossem agentes de infiltrao: centenas desses olhos so fixadas na parede ou
no teto em uma instalao in situ uma exploso viral, por assim dizer, que tambm remete a multides
migratrias ou a configuraes sugestivas de partes do corpo (feminino). Nas pinturas, fotografias e obras
criadas com tcnicas mistas por Jitish Kallat, o prprio corpo poltico o foco crtico. A destruio que
costura seus caminhos no tecido urbano, o principal motivo de sua obra, evidencia-se nas 365 fotografias
de tamanho idntico dispostas em uma estrutura de grade: primeira vista, as imagens parecem ser
uma srie de abstraes; vistos mais de perto, os incidentes pictricos surgem como cicatrizes e danos
na lataria cintilante dos automveis, o smbolo de status por excelncia para o crescente contingente de
novos-ricos na ndia. Assim, registrados pelas superfcies enganosamente sedutoras dessas fotos, os
amassados nas carrocerias dos carros poderiam ser interpretados como um levantamento pardico no
The contrast between Subodh Guptas playful approach to the manipulation of cultural signs and the moral seriousness
of Sheela Gowdas engagement with them is eloquent of the myriad possibilities that lie between these two positions.
Bharti Khers use of plastic bindis (the mark or dot in red pigment that women apply to their forehead to signify their
marital status) as the proliferative element of a vocabulary of ornamental forms functions as a sly and witty subterfuge
of the gender codifications encapsulated in this diminutive yet symbolically resonant sign. Another form of subversion is
proposed by Anita Dubes recourse to the glass eyes that traditionally serve as votive offerings to an idol in a temple but
which she deploys as a kind of infiltrating agent: hundreds of these eyes are affixed to the wall or on the ceiling in an in
situ installation, a viral outburst, as it were, that is also reminiscent of migratory swarms or suggestive configurations of
(female) body parts. In Jitish Kallats paintings and photographs and mixed media practice it is the body politic itself that
is the critical focus. The destructiveness seaming its way in the very fabric of the urban that is a leading motif of his work
is evinced in the 365 identically sized photographs displayed in a gridlike structure: the images appear at first sight to be
a series of pictorial abstractions; on closer inspection the painterly incidents are revealed to be the scars and abrasions
on the gleaming surfaces of cars, the status symbol par excellence for the swelling ranks of the nouveaux riches in India.
So the dents on the bodies of the cars registered by the deceptively seductive surfaces of these photographs could be
Bharti Kher
A nmesis das naes /
The Nemesis of Nations, 2008
bindis sobre parede, site-specific /
bindis on wall, work in situ
dimenses variveis / variable dimensions
Fotografia / Photograph: Felix Clay/Guardian
Anita Dube
Olhos de esmalte / Yeux en mail
instalao site-specific / installation in situ
20 21
Atul Dodiya
Mahalaxmi: exterior, 2002
cortina de metal / metal curtain, 275 183 cm
Coleo / Collection: Shumita & Arani Bose, New York
Atul Dodiya
Mahalaxmi: porta semiaberta / half open view,
2002cortina de metal / metal curtain, 275 183 cm
Coleo / Collection: Shumita & Arani Bose, New York
qual a diferena social se inscreve no como marca, mas como defeito. Outra faceta da vida
no inferno urbano explorada nas pinturas que Atul Dodiya executa nas portas metlicas
de enrolar que fecham vitrines de lojas. Ele se apropria do estilo popular no qual a imagem
de Mahalaxmi, a deusa da riqueza e da prosperidade, representada nas fachadas de
estabelecimentos comerciais (para gerar boa sorte) com o objetivo de revelar assim que se
levanta a porta uma imagem oposta e contundente: uma pintura (gerada de uma sinistra foto
de jornal) mostrando o suicdio coletivo de jovens mulheres provocado pela impossibilidade
de seus pais pagarem o dote que lhes permitiria se casarem. Essa viso urbana da ndia
contempornea explorada em um veio mais irnico nas pinturas de N. S. Harsha.
seen as a parodic inventory where social difference is inscribed not as a brand name but as a
blemish. Another facet of living in the urban inferno is explored by Atul Dodiyas paintings on the
rolling metal shutters of shop windows: he appropriates the vernacular style in which the image
of the goddess of wealth and prosperity, Mahalaxmi, is represented on shop fronts (as an augury
of good fortune) with a view to revealing once the shutter is raised a starkly opposed image
behind it: a painting (after a grisly newspaper photograph) depicting a collective suicide by young
women provoked by the impossibility of paying the dowry demanded of their father in exchange
for marriage. This street-level view of contemporary India is explored in a more ironic vein in
22 23
No maravilhoso quadro Mass Marriages [Casamentos coletivos], que retrata a prtica bastante comum
na zona rural do sul do pas de se fazerem casamentos coletivos para pessoas que no podem pagar
cerimnias particulares, os casais formam uma legio bastante variada, em que alguns esto bem
posicionados na parte superior da pintura, como por exemplo a parelha de asnos adornada com flores, dois
bebs em beros colocados lado a lado, um noivo precipitando-se do espao sideral com uma guirlanda de
flores para sua noiva na Terra... Os casais foram dispostos segundo o modelo tradicional de imagem para
porta-retrato, diante de um fundo mostrando algumas das maravilhas do mundo: o Taj Mahal, claro, mas
tambm a Torre Eiffel e a Torre Inclinada de Pisa, a Esttua da Liberdade, Stonehenge etc. Harsha tem
um olhar aguado para detectar charme em incongruncias e justaposies: o costume local e o smbolo
global tornam-se parte de uma concatenao cujo emblema ldico e despretensioso a guirlanda de
flores oferecida aos noivos na cerimnia de casamento. A internacionalizao da arte contempornea leva
a um ecletismo de meios e referncias ao qual alguns artistas recorrem para efeito crtico, registrando uma
conscincia do poder predatrio do mercado global em que hoje se do todas as trocas (e no apenas as
culturais). Em seu vdeo Global Clones [Clones Globais], Sharmila Samant apresenta uma formulao
N. S. Harshas paintings. In the marvellous Mass Marriages, which treats of the custom, frequent in rural
south India, of marriages conducted en masse for people unable to afford an individual wedding, the couples
are as legion as they are varied, and some positively over the top, such as a pair of garlanded donkeys,
two babies in adjoining cradles, a bridegroom swooping from outer space to garland his bride on earth
The married couples are posed as if for the traditional souvenir photograph in the vernacular mode, framed
against the background of some of the wonders of the world: the Taj Mahal, of course, but also the Eiffel
Tower and the Leaning Tower of Pisa, the Statue of Liberty, Stonehenge Harsha has a fine eye for the
charm of such blithe incongruities and juxtapositions: local custom and global symbol become part of a
concatenation whose playful, unassuming emblem is the floral wedding garland. The internationalisation
of contemporary art makes for an eclecticism of means and references that some artists turn to critical
effect, registering an awareness of the predatory hold of the global market-place in which all exchange (and
not only cultural) now takes place. Global Clones, a video projection by Sharmila Samant, is a witty and
N. S. Harsha
Casamento coletivo / Mass Marriage, 2003 (detalhe / detail)
acrlica sobre tela / acrylic on canvas, 168 290 cm
Sharmila Samant
Clones globais / Global Clones, 1998
instalao (vdeo projetado no piso, 2 min), par de tnis Nike /
installation (video projected on the ground, 2 min), pair of sneakers Nike
Coleo da artista / Artists Collection, Mumbai
24 25
sucinta e espirituosa da homogeneizao que surgiu na esteira do fetichismo das commodities e do
culto das marcas. Inspirando-se na ancestral Rota da Seda, um dos mais antigos caminhos de comrcio
e cultura entre o subcontinente indiano e a Europa, Samant selecionou dezoito tipos de calados
tradicionais femininos, genericamente similares, originrios de alguns pases atravessados pela Rota,
e criou com eles uma sequncia em movimento. Nela, a imagem de cada calado transforma-se na
de outro, e assim por diante, simulando um caminhar. No vdeo em loop projetado sobre o piso, as
babouches tranadas e ornamentadas com lantejoulas e as sapatilhas parecem avanar, porm sem sair
do lugar, e essa mistura de imagens poderia ser vista como uma aluso obsolescncia do calado feito
mo, diante dos sapatos esportivos importados, industrializados em massa, hoje vendidos na ndia. Um
exemplo o par de tnis Nike colocado ao lado da projeo. Para Samant, esses tnis constituem um
marco do efeito achatador e universalizador da cultura corporativa e dos produtos na esfera global, um
objeto que por sua vez ser clonado localmente.
succinct formulation of the homogenisation that follows in the wake of commodity fetishism and the cult
of the brand name. Taking her cue from the old Silk Route, one of the earliest passages of commerce and
culture between the Indian subcontinent and Europe, Samant selected eighteen types of generically similar
womens traditional footwear originating from some of the countries traversed by the Route, and set them in
motion, that is, the image of each footwear was morphed onto the next and further animated to simulate a
walk. In the video loop projected on the floor, the braided and sequined babouches and slippers appear to
advance and yet remain on the same spot, a shuffling that could be seen as an allusion to the handcrafted
footwears eventual obsolescence in the face of industrially-made, mass manufactured imported sports
shoes now marketed in India, an example of which a real pair of Nikes is placed on the edge of the
projection. For Samant the latter is a marker of the universalising and flattening effect of global corporate
culture and products, an object that will get locally cloned in its turn.
Deepak Ananth historiador de arte, vive em Paris e atualmente leciona na cole des Beaux-Arts em Caen, na Normandia. Escreve sobre uma vasta gama de artistas europeus e indianos modernos
e contemporneos, sobretudo para catlogos de exposies, por exemplo, sobre Matisse, Picasso, Bonnard, Vuillard, Howard Hodgkin, Sarkis, Anish Kapoor, Amrita Sher-Gil, Vivan Sundaram, Mrinalini
Mukherjee, Jitish Kallat e N. S. Harsha, e tambm sobre fotografia indiana. Seus projetos curatoriais incluem exposies de arte contempornea francesa (Thresholds, Nova Delhi, 1995), pintura francesa
do sculo XIX (Histoires Parallles, Fukuoka Art Museum, Tokyo, 1995-1996), Surrealismo (Surrealismo, Rio de Janeiro, 2001), Roland Barthes (The Drawings of Roland Barthes, Tquio e Kyoto, 2004) e
de arte indiana contempornea: Indian Summer (Paris, 2005); l'Inde dans tous les sens (Paris, 2006); Passages (Bruxelas, 2006); Prospects (Roma, 2007); The Home and the World (Nova York e Berlim,
2008); Leftovers (Tquio e Osaka, 2008-2009) e Orientations (Oudenburg, 2010).
Deepak Ananth is an art historian based in Paris. He currently teaches at the cole des Beaux-Arts in Caen, Normandy. He has written on a wide range of modern and contemporary European and Indian
artists, mostly for museum publications. These include essays on Matisse, Picasso, Bonnard, Vuillard, Howard Hodgkin, Sarkis, Anish Kapoor, Amrita Sher-Gil, Vivan Sundaram, Mrinalini Mukherjee, Jitish
Kallat and N. S. Harsha and on Indian photography. His curatorial projects include exhibitions of contemporary French art (Thresholds, New Delhi, 1995), nineteenth-century French painting (Histoires
Parallles, Fukuoka Art Museum, Tokyo, 1995-1996), Surrealism (Surrealismo, Rio de Janeiro, 2001), Roland Barthes (The Drawings of Roland Barthes, Tokyo and Kyoto, 2004), and Indian contemporary
art: Indian Summer (Paris, 2005); l'Inde dans tous les sens (Paris, 2006); Passages (Brussels, 2006); Prospects (Rome, 2007); The Home and the World (New York and Berlin, 2008); Leftovers (Tokyo
and Osaka, 2008-2009), and Orientations (Oudenburg, 2010).
26 27
NDIA LADO A LADO
INDIA SIDE BY SIDE
Tereza de Arruda
curadora / curator
28 29
A mostra NDIA LADO A LADO foi concebida para o pblico brasileiro como parte da exposio
NDIA!, idealizada para o Centro Cultural Banco do Brasil CCBB, apresentada em 2011 e
2012 em trs grandes cidades brasileiras: Rio de Janeiro, So Paulo e Braslia. Pela primeira
vez haver uma vasta apresentao da arte e da cultura indianas em nosso pas, abrangendo
aproximadamente 2 mil anos dessa cultura infinita. Os artistas participantes da mostra so Baiju
Parthan, Bharti Kher, Gigi Scaria, Jitish Kallat, Manjunath Kamath, Nalini Malani, Pushpamala N.,
Raqs Media Collective (Jeebesh Bagchi, Monica Narula e Shuddhabrata Sengupta), Ravinder
Reddy, Reena Kallat, Riyas Komu, Sheba Chhachhi, Shilpa Gupta, Surekha, Thukral & Tagra,
T.V. Santhosh, Vishal K. Dar, Vivan Sundaram e Vivek Vilasini. H ainda uma parceria com o PIX
Collective, com obras de Swarup Dutta, Gareth Kingdon, Ronny Sen, Manu Thomas, Rajesh
Vora, Neha Malhotra, Sangeeta Rana, Mhesh Shantaram, Abhijit Nandi e Aditya Pande.
O ttulo da mostra uma aluso densidade e dinmica da vida cotidiana na ndia. Essa nao
fascina por ter mais de um bilho e 200 milhes de habitantes e por ser composta por mais
de duas mil etnias distintas, com vrias religies, contando ainda com diversos idiomas oficiais.
Todo esse conjunto capaz de coexistir e interagir, gerando assim uma sociedade nica e
indiscutivelmente complexa em todas as suas facetas. A maioria dos habitantes tem menos de
35 anos, mais um reflexo da vitalidade do pas.
O ttulo NDIA LADO A LADO tambm uma referncia ao passado histrico e ao
desenvolvimento atual dos dois pases, ndia e Brasil. Ambos existiram como colnia europeia e
foram dominados por Portugal. Hoje em dia compartilham a reputao de global players e fazem
parte do BRIC, com Rssia e China. Conquistaram grande repercusso mundial principalmente
por seu poder econmico, numa fase em que outros pases comeam a perder lugar nessa
disputa internacional.
The show NDIA LADO A LADO [India Side by Side] was designed for the Brazilian public
as part of the exhibition NDIA!, conceived for the Centro Cultural Banco do Brasil (CCBB)
and presented in 2011 and 2012 in three large Brazilian cities: Rio de Janeiro, So Paulo and
Braslia. This is the first vast exhibition of Indian art and culture ever held in our country, covering
approximately two thousand years of this infinite culture. The artists participating in the show are
Baiju Parthan, Bharti Kher, Gigi Scaria, Jitish Kallat, Manjunath Kamath, Nalini Malani, Pushpamala
N., Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta),
Ravinder Reddy, Reena Kallat, Riyas Komu, Sheba Chhachhi, Shilpa Gupta, Surekha, Thukral &
Tagra, T.V. Santhosh, Vishal K. Dar, Vivan Sundaram and Vivek Vilasini. There is also a partnership
with PIX Collective, with works by Swarup Dutta, Gareth Kingdon, Ronny Sen, Manu Thomas,
Rajesh Vora, Neha Malhotra, Sangeeta Rana, Mhesh Shantaram, Abhijit Nandi and Aditya Pande.
The exhibitions title is an allusion to the density and dynamics of everyday life in India.
This nation is fascinating for having more than 1.2 billion inhabitants and being composed of
more than two thousand distinct ethnicities, with various religions and a diversity of official
languages. This entire whole is able to coexist and interact, giving rise to a unique society that is
undeniably complex and all its facets. Most of the inhabitants are under 35 years old, a further
reflection of the countrys vitality.
The title NDIA LADO A LADO is also a reference to the historic past and the current
development of the two countries, India and Brazil. Both countries were once European colonies,
and were dominated by Portugal. They currently share the reputation of global players and are
part of BRIC, along with Russia and China. They have attained key importance on the world stage
mainly because of their economic power, in a phase in which other countries are beginning to
lose position in this international competition.

Vista da Exposio / View of the Exhibition
Fotografia / Photograph: Motivo
30 31
Esta exposio traz pela primeira vez ao Brasil a complexidade da ndia e deve atingir um
pblico estimado em mais de um milho de pessoas. Alm disso, o projeto pretende ser um
ponto de partida para um dilogo intenso entre as duas culturas. Politicamente os dois pases
mantm fortes laos. Lembro, porm, meu espanto ao ler, em 1996, que o ento presidente
da Repblica, Fernando Henrique Cardoso, era o nosso primeiro governante a visitar a ndia
independente como convidado especial para as comemoraes da Proclamao da Repblica,
no dia 26 de janeiro.
1
possvel que a incompatibilidade entre as agendas diplomticas seja
a responsvel por esse atraso, uma vez que 28 anos antes, em 1968, houve uma visita da
primeira-ministra Indira Gandhi ao Brasil. Nos ltimos anos as visitas ocorreram com mais
frequncia, pois o presidente Luiz Incio Lula da Silva visitou a ndia em 2004, 2007 e 2008,
gerando inmeros acordos bilaterais em vigor ainda hoje. Historicamente os primeiros tratados
bilaterais surgiram entre os sculos XVI e XVIII, entre Brasil e Goa, ambos colnias de Portugal,
resultando em um intercmbio de fauna, flora, alimentos, costumes e vestimentas.
A ndia ainda constitui uma grande incgnita para o povo brasileiro, despertando imenso fascnio
ligado a clichs alimentados principalmente por uma recente telenovela brasileira e por produes
bollywoodianas, uma vez que esparsa a divulgao da literatura indiana no exterior, ou dos seus
filmes nos Festivais de Cinema internacionais. A migrao indiana ao Brasil no suficiente para
quebrar essa barreira, pois a estatstica oficial afirma que existem somente mil indianos vivendo
hoje em nosso pas. S no mbito acadmico esse intercmbio um pouco mais tangvel.
No contexto da arte contempornea acontece esporadicamente uma aproximao entre as
duas culturas, com a presena de artistas indianos na Bienal de So Paulo, embora poucos
brasileiros tenham exposto at hoje na ndia. No incio de 2010 o SESC Pompeia apresentou
a mostra Urban Manners 2 Artistas Contemporneos da ndia, com obras de onze artistas,
parte da exposio Urban Manners, concebida em 2007 para o Hangar Bicocca de Milo.
Na Europa e nos Estados Unidos as mostras coletivas de arte indiana se tornaram frequentes
na ltima dcada,
2
mas isso muito recente se considerarmos, por exemplo, a relao histrica
entre ndia e Inglaterra. Poucos artistas indianos conquistaram visibilidade individual e fazem
parte da arte internacional contempornea, a no ser alguns modernistas do chamado Grupo
progressista como V. S. Gaitonde, Tyeb Mehta, F. N. Souza, M. F. Husain ou Syed Raza, os
quais buscaram aproximar-se da cultura ocidental desde a dcada de 1950, ou artistas
contemporneos como Subodh Gupta, Jitish Kallat, Bharti Kher e Raqs Media Collective, entre
poucos outros. Mostras temticas de carter geogrfico raramente enfatizam a individualidade
dos artistas, mas somente esse compndio grupal possui a fora de insero em um novo
contexto. Esse o caso da mostra NDIA LADO A LADO, elaborada para o Brasil. A maioria
dos artistas participantes nunca exps na Amrica Latina, da nossa grande responsabilidade e
o potencial de multiplicidade a ser alcanado.
2
Alguns exemplos: The Tree
from the Seed Contemporary
Art from India, no Henie Onstad
Kunstsenter em Hvikodden,
2003; Body City, na Haus der
Kulturen der Welt, 2003; Indian
Summer, na cole Nationale
Suprieure des Beaux-arts de
Paris, 2005; New Narratives:
Contemporary Art from India, no
Chicago Cultural Center, 2007;
Horn Please, no Kunstmuseum
Bern, 2007/2008; Indian
Highway, mostra itinerante
iniciada em 2008/2009 na
Serpentine Gallery de Londres,
e Paris-Delhi-Mumbai..., no
Centre Pompidou, Paris, 2011.
2
Some examples: The Tree from
the Seed Contemporary Art
from India, at Henie Onstad
Kunstsenter in Hvikodden,
2003; Body City, at Haus der
Kulturen der Welt, 2003; Indian
Summer, at cole Nationale
Suprieure des Beaux-arts de
Paris, 2005; New Narratives:
Contemporary Art from India, at
Chicago Cultural Center, 2007;
Horn Please, at Kunstmuseum
Bern, 2007/2008; Indian
Highway, a traveling show
begun in 2008/2009 at
Serpentine Gallery, London, and
Paris-Delhi-Mumbai..., at the
Centre Pompidou, Paris, 2011.
This exhibition brings the complexity of India to Brazil for the first time, and is expected to receive
more than 1 million visitors. The project moreover aims to be a starting point for an intense
dialogue between the two cultures. The two countries maintain strong political ties. Nevertheless,
I remember my surprise in reading, in 1996, that Brazils then president Fernando Henrique
Cardoso was our first national leader to visit independent India as a special guest for the nations
Republic Day celebrations, on January 26.
1
It is possible that the incompatibility between their
diplomatic agendas was responsible for this delay, since 28 years earlier, in 1968, there was a
visit by Prime Minister Indira Gandhi to Brazil. In recent years the visits have been more frequent,
as President Luiz Incio Lula da Silva visited India in 2004, 2007 and 2008, generating countless
bilateral agreements still in effect today. Historically the first bilateral treaties arose in the 16th and
18th centuries, between Brazil and Goa, both colonies of Portugal, resulting in an exchange of
flora and fauna, food, customs and clothing.

India is still something of a large unknown for the Brazilian public, kindling immense fascination
linked to clichs fueled mainly by a recent Brazilian dramatic television series (telenovela) and
by Bollywood productions, since there is little circulation of Indian literature abroad and the
countrys films are rarely featured at international film festivals. The Indian migration to Brazil
has not been sufficient to break this barrier, since according to the official statistics there are
only one thousand Indians currently living in our country. Only in the academic field is this
exchange a little more tangible.

In the context of contemporary art the two cultures have sporadically come together, with the
presence of Indian artists at the Bienal de So Paulo, although so far few Brazilian artists have
shown their works in India. In early 2010, SESC Pompeia presented the show Urban Manners
2 Artistas Contemporneos da ndia, with works by eleven artists, as part of the exhibition
Urban Manners, conceived in 2007 for Hangar Bicocca in Milan. In Europe and the United
States, group exhibitions of Indian art have become frequent over the last decade,
2
but this
is a recent development if we consider, for example, the historical relation between India and
England. Few Indian artists have attained widespread individual recognition or become part of
the international contemporary art scene; these rare occurrences include some modernists of the
so-called Progressive Group such as V. S. Gaitonde, Tyeb Mehta, F. N. Souza, M. F. Husain and
Syed Raza, who sought to approximate themselves to Western culture beginning it the 1950s,
along with contemporary artists such as Subodh Gupta, Jitish Kallat, Bharti Kher, the Raqs Media
Collective, and a few others. Thematic shows of a geographic character rarely emphasize the
individuality of the artists, but only this collective approach can be powerfully inserted in a new
context. This is the case of the show NDIA LADO A LADO, designed for Brazil. Most of the
participating artists have never had their works shown previously in Latin America hence our
great responsibility and the potential for multiple unfoldings.

1
Coincidentemente, na manh
de 26 de janeiro de 2011 eu
partia de Nova Delhi.
O percurso do hotel ao
aeroporto estava repleto de
cores, traos e feies de uma
diversidade tnica inigualvel.
Mesmo 81 anos aps a criao
do Congresso Nacional, o povo
ainda se apressava, surgindo
dos cantos, de esquinas e
ruas inusitadas, a caminho da
celebrao oficial.
1
Coincidentally, on the morning
of January 16, 2011, I left
New Delhi. The route from the
hotel to the airport was full of
colors, traits and features of an
unparalleled ethnic diversity.
Even 81 years after the creation
of the National Congress, the
people still hurried, emerging
from every corner, street and
alleyway, toward the official
celebration.
32 33
Vista da Exposio / View of the Exhibition
34 35
Tereza de Arruda historiadora de arte e curadora independente de So Paulo e vive desde 1989 em Berlim, onde estudou histria da arte. Realizou curadorias internacionais e coordenou projetos
para uma vasta gama de instituies, como Museu de Arte de So Paulo Assis Chateaubriand MASP (Sigmar Polke Capitalist Realism and other illustrated histories, 2011/Contemporary German
Painting 1989-2010, 2010/Yang Shaobin, 2009/China Construction Deconstruction, 2008/Tatsumi Orimoto, 2008); Today Art Museum, Beijing (Wang Chengyun, 2010); Museu Vale, Vitria (Rosilene
Luduvico, 2009); Chicago Cultural Center (The Big World Recent Art from China, 2009); Haus der Kulturen der Welt, Berlin (Copa da Cultura, 2006); ZKM, Karlsruhe (Interconnect between Attention
and Immersion, 2006); Documenta 11, Kassel (Cildo Meireles, 2002); as bienais de Havana, Istambul, VentoSul e So Paulo; transmediale, Berlim, The month of Photography (Berlim/Roma/So Paulo/
Braslia); Art Frankfurt (2003); Kunst-Werke Berlin (2006); C/O, Berlim (2006).
Tereza de Arruda is an art historian and independent curator from Sao Paulo, living since 1989 in Berlin, where she studied history of art. She has carried out international curatorships and coordinated
projects for a wide range of venues, including Museu de Arte de So Paulo Assis Chateaubriand MASP (Sigmar Polke Capitalist Realism and other illustrated histories, 2011/Contemporary German
Painting 1989-2010, 2010/Yang Shaobin, 2009/China Construction Deconstruction, 2008/ Tatsumi Orimoto, 2008); Today Art Museum, Beijing (Wang Chengyun, 2010); Museu Vale, Vitria (Rosilene
Luduvico, 2009); Chicago Cultural Center (The Big World Recent Art from China, 2009); Haus der Kulturen der Welt, Berlin (Copa da Cultura, 2006); ZKM, Karlsruhe (Interconnect between Attention
and Immersion, 2006); Documenta 11, Kassel (Cildo Meireles, 2002); the biennials of Havana, Istanbul, VentoSul and Sao Paulo, transmediale, Berlin; The month of Photography (Berlin/Rome/Sao
Paulo/Brasilia); Art Frankfurt (2003); Kunst-Werke Berlin (2006); C/O, Berlim (2006).
Por viver em Berlim desde 1989 pude acompanhar diversas mostras de arte indiana realizadas
na Europa, assim como participaes individuais em grandes mostras internacionais como a
Documenta de Kassel e as bienais de Veneza, Havana e Istambul, as quais acompanho desde
o incio da dcada de 1990. Foi, porm, em 2003, aps visitar as mostras The Tree from the
Seed no Henie Onstad Kunstsenter, em Hvikodden, e Body City, na Haus der Kulturen der
Welt, em Berlim, que esse contexto me chamou a ateno pela amplitude de sua narrativa e
diversidade artstica tratando temas ligados tradio e inovao de uma cultura de mais
de 5 mil anos, celebrando sua recente identidade do perodo ps-colonial. Surgiu a meu
interesse em aproximar os contextos indiano e brasileiro, cujo dilogo acontecia somente
na plataforma casual das bienais internacionais. Nessa poca a arte contempornea indiana
ainda no havia alcanado o boom mercadolgico, o qual em parte chegou a deturpar
o percurso em evoluo da sua recente internacionalidade. A normalidade s pde ser
retomada aps o pice da crise econmica de 2009.
A prtica curatorial de trazer ao Brasil uma mostra coletiva de arte indiana contempornea
foi para mim, porm, um processo contnuo e sinuoso. O resultado aqui apresentado surge
de um intenso trabalho de pesquisa junto aos artistas participantes da mostra em diversas
visitas a atelis nas cidades de Nova Delhi, Mumbai, Vishakhapatnam e Bangalore. Alm disso,
especialistas locais e internacionais tm contribudo para esse dilogo mediante encontros e
trocas intensivos.
Unimos aqui artistas de trs geraes. Alguns deles como Ravinder Reddy, Pushpamala
N., Sheba Chhachhi, Thukral & Tagra e Vivan Sundaram produziram novas obras para a
exposio. Colecionadores locais e internacionais se engajaram no projeto, emprestando
obras significativas.
A mostra rene pintura, escultura, instalao, fotografia e vdeo de mais de vinte artistas,
todos vivendo na ndia e atuando internacionalmente. Os trabalhos selecionados expressam
momentos distintos da cultura indiana ligados a questes histricas, sociais, econmicas e
urbansticas, entre outras, encobertas por narrativas em parte ldicas e singelas, banhadas por
uma grande resoluo esttica. Os artistas contemporneos indianos no se prendem a uma
nica forma de expresso, dedicam-se a diversos meios artsticos simultaneamente. Na mostra,
porm, cada artista representado por uma obra significativa de sua produo, de maneira que
o visitante poder focar sua ateno em cada participao individualmente.
For having lived in Berlin since 1989, I have been able to witness various exhibitions of Indian
art held in Europe, as well as individual participations in large international shows like the Kassel
Documenta and the biennials of Venice, Havana and Istanbul, which I have been following since
the beginning of the 1990s. Therefore, upon visiting the shows The Tree from the Seed at Henie
Onstad Kunstsenter, in Hvikodden, and Body City, at Haus der Kulturen der Welt, in Berlin, both
in 2003, my attention was called to the breadth of the narrative and the artistic diversity dealing
with themes linked to both the tradition and innovation of a more than five-thousand-year-old
culture, celebrating its recent postcolonial identity. This sparked my interest in approximating
the Indian and Brazilian contexts, which had previously dialogued only on those occasions they
happened to be together at international art biennials. At that time, Indian contemporary art
had not yet entered its marketing boom, which partly disfigured the development of its recent
internationality. Normality could only be resumed after the peak of the 2009 economic crisis.

Nevertheless, for me the curatorial work of bringing a group show of Indian contemporary art to
Brazil was a continuous process of twists and turns. The result presented here is the outcome
of an intense effort of research together with the artists participating in the show, in various
visits to studios in the cities of New Delhi, Mumbai, Vishakhapatnam and Bangalore. Beyond
this, local and international specialists have contributed to this dialogue by way of intensive
meetings and exchanges.

Here we bring together artists from three generations. Some of them like Ravinder Reddy,
Pushpamala N., Sheba Chhachhi, Thukral & Tagra and Vivan Sundaram have produced new
works for the exhibition. Local and international collectors have become involved in the project,
lending significant artworks.

The show features works in painting, sculpture, installation, photography and video by more
than twenty artists, all living in India and active on the international scene. The artworks selected
express different moments of Indian culture linked to historical, social, economic, urbanistic and
other issues, wrapped in partly playful and simple narratives, imbued by great aesthetic resolution.
Not limited to a single form of expression, the Indian contemporary artists work with different
artistic media simultaneously. In this show, however, each artist is represented by an artwork
emblematic of his/her production, thus allowing the visitors attention to be focused on each
participation individually.
36 37
Apesar de sua formao como pintor, Baiju Parthan conhecido como pioneiro
da arte interdisciplinar e intermiditica na ndia. Quando se debruou sobre o
funcionamento de um universo misterioso, passou a combinar essas vises um
tanto surrealistas com suas preocupaes e seu entorno, focando no cotidiano de
Mumbai. Baiju passou a explorar o ciberespao para produzir uma srie de imagens
provocadoras e surreais, respaldadas sem dvida na realidade de sua cidade
pulsante e catica. O contexto urbano dominado por seu crescimento irregular e
invadido por milhares de pessoas, em sua maior parte migrantes, transforma o habitat
do artista em seu prprio tema de trabalho.
Isso pode ser visto em duas obras fotogrficas de sua produo recente expostas
aqui, criadas em parte por seu imaginrio, com recursos de simulao. As obras so
executadas em formato panormico e com uma tcnica de revelao tridimensional.
Graas a essa tcnica o pblico visitante pode se situar no contexto imaginrio do
artista, proveniente de seu universo real. Em frao de segundo o espectador se
v inserido em uma das camadas dessa representao visionria entre o presente
e a incerteza do futuro. Monumentos renomados como o Portal da ndia passam a
ser sobrevoados por tubares, como se estivessem ameaando no somente um
monumento histrico, mas talvez todo o legado do passado. Vale lembrar que o
ataque de 26 de novembro de 2008, causado por terroristas paquistaneses, teve
como grande alvo o bairro de Colababa, regio do Portal da ndia.
T. A.
Baiju
Parthan
Despite his training as a painter, Baiju Parthan is known as a pioneer of interdisciplinary and intermediatic art in India. In his process
of revealing the workings of a mysterious universe, he began to combine these rather surrealist views with his concerns and his
surroundings, spotlighting the day-to-day life in Mumbai. Baiju began exploring cyberspace to produce a series of provocative and
surreal images, doubtlessly drawn from the reality of his throbbing and chaotic city. The urban context dominated by its irregular
growth and invaded by thousands of people, most of them migrants, transforms the artists habitat into the very theme of his work.

This can be seen in two of his recent photographic works shown here, created in part by his imagination, with graphic simulation
resources. The works are executed in panoramic format, with a technique of 3D rendering. Thanks to this technique the viewers
can situate themselves within the imaginary context the artist has created based on his real world. In a fraction of a second the
viewer is inserted into one of the layers of this panorama located between the present and an uncertain future. Famous monuments
like the Gateway of India are seen with sharks circulating in the air above them, as though they were threatening not only the
historical monument, but also perhaps the legacy of the past. It should be remembered that the attack by Pakistani terrorists on
November 26, 2008, targeted the district of Colababa, the region of the Gateway of India.
T. A.
Fotografia / Photograph: Paulo Jabur
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38 39
Coro / Chorus, 2011
fotografia em 3D impresso lenticular /
3D rendering and photography
114,3 343 cm
Cortesia / Courtesy: The Guild Art Gallery, Mumbai
Monumento / Monument, 2011
fotografia em 3D impresso lenticular /
3D rendering and photography
114,3 343 cm
Cortesia / Courtesy: The Guild Art Gallery, Mumbai
40 41
As obras de Bharti Kher so bastante heterogneas. As esculturas que a artista
tem criado remetem, por exemplo, figura do animal principalmente do elefante,
to presente na cultura indiana , combinada a partir de meados da dcada de
2000 com partes do corpo humano. Surgem a seres hbridos com tendncia a
figuras femininas, confrontando o espectador com uma mistura de sexualidade e
monstruosidade. Em contraste, suas pinturas so abstratas, compostas por bindis
autoadesivos ornamentos femininos geralmente usados na testa, na sociedade
indiana. Essas obras, provenientes de colagem, carregam uma forte esttica de
beleza suntuosa e pictrica. Seu tema principal a noo do indivduo como um
mltiplo na sociedade. Bharti explora um drama ntimo em seus objetos carregados
de mitologia e associaes sociais diversas. Nesta mostra apresentamos uma de
suas obras mais recentes, In your absence [Em sua ausncia]. Eis aqui a apropriao
de mais um elemento feminino o sari, composto por delicado material txtil,
repleto de ornamentos em sua estampa. Acoplados em uma assemblage, os saris
deslizam, solitrios e petrificados pela camada de resina que os envolve, sobre
um agrupamento de cadeiras demarcando o vazio deixado por suas usurias
inexistentes. O sari, elemento trivial da sociedade indiana e usado pelas mulheres
tanto no cotidiano quanto em ocasies especiais, passa aqui a representar o todo
do papel da mulher na sociedade, substituindo qualquer outro ornamento, corpo,
metfora. Esse objeto simples passa a resumir a existncia feminina, reunindo em si
uma grande fragilidade e sexualidade graas ao seu material e ao contorno por ele
formado, abstraindo, porm, a protagonista.
T. A.
Bharti
Kher
The works of Bharti Kher are very heterogeneous. The sculptures the artist has created refer, for example, to the figure of the
animal especially the ubiquitous elephant of Indian culture which since the mid-2000s are combined with parts of the human
body. This gives rise to hybrids that tend to be feminine figures, confronting the spectator with a blend of sexuality and monstrosity.
In contrast, her paintings are abstract, composed of self-adhesive bindis feminine adornments often worn on the forehead in
Indian society. These collage works bear a strong aesthetics of sumptuous and pictorial beauty. Her main theme is the notion of the
individual as a multiple in society. Bharti explores an intimate drama in her objects charged with mythology and a range of social
associations. In this show we present one of her most recent works, In Your Absence, which features the appropriation of another
feminine element the sari, composed of delicate fabric with richly ornamented patterns. Brought together in an assemblage,
solitary and petrified within the layer of resin that covers them, the saris slide over a group of chairs which intensely evoke the
void left by their inexistent users. A common element of Indian society worn by women in everyday life and on special occasions,
here the sari represents the overall role of the woman and society, standing for any other ornament, body, or metaphor. This
simple object summarizes the females existence, with all its fragility and sexuality due to its material and the outline it forms, while
abstracting, however, the protagonist.
T. A.
Fotografia / Photograph: Kushal A N
42 43
Em sua ausncia / In Your Absence, 2010
instalao: cadeira de madeira, sari, resina /
installation: wooden chair, sari, resin
Cortesia / Courtesy: GALLERYSKE, Bangalore e / and Bharti Kher
44 45
Gigi Scaria conhecido por sua pesquisa urbanstica e assume cada vez mais causas
nesse campo atravs de vrias mdias como pintura, escultura, arte digital e vdeo.
Gigi apresenta nesta mostra uma instalao escultrica que inclui vdeo, escultura
e obra interativa em um nico trabalho, simultaneamente, porque o visitante
convidado a experimentar a obra de forma fsica e mental.
O artista criou uma obra intitulada Elevator from the subcontinent [Elevador do
subcontinente], a qual consiste literalmente em um elevador cujas paredes internas
so substitudas por trs vdeos distintos. Quando entramos no elevador a imagem
das trs paredes internas se move, levando-nos a vivenciar andares distintos de
habitaes privadas. O vdeo transporta o visitante a diversos andares de um prdio,
tornando visveis realidades de diversas camadas sociais indianas. Esto embutidas
a, de forma singela e inteligente, diversas realidades e metforas enfatizadas pelo
artista atravs da autenticidade da obra.
Gigi Scaria transmite aqui uma visibilidade quase que voyeurista, tornando pblico o
espao privado de famlias indianas. com fascnio e curiosidade que o pblico se
deixa envolver nesse discreto universo, com todas as suas peculiaridades e sutilezas.
T. A.
Gigi
Scaria
Gigi Scaria is known for his urbanistic research and is increasingly taking up further causes in this field by way of various
media such as painting, sculpture, digital art and video. In this show, Gigi presents a sculptural installation that includes video,
sculpture and an interactive aspect within a single artwork, simultaneously, because the visitor is invited to experience the work
physically and mentally.

The artist created a work entitled Elevator from the Subcontinent, which consists literally of an elevator whose inner walls have
been substituted by three different videos. When we enter the elevator, the images on the three inner walls move, bringing us to
experience different floors of a virtual building including private dwellings thus revealing realities of a range of social levels
in India. By way of this simple but ingenious strategy, the artist deals with different realities and metaphors emphasized by the
authenticity of this work.

Here, Gigi Scaria conveys a nearly voyeuristic visibility, revealing the private space of Indian families to the public. In their
fascination and curiosity, the viewers allow themselves to be involved in this discrete world, with all its peculiarities and subtleties.
T. A.
Fotografia / Photograph: Guilherme Isnard
46 47
Elevador do subcontinente /
Elevator from the subcontinent, 2011
videoinstalao, trs canais com som /
video installation, three channel with sound, 10 min
271 x 280 cm
48 49
Jitish Kallat incorpora variados meios de comunicao em seu trabalho, que
envolve instalaes, fotografia, pintura e escultura. Sua obra caracterizada por
uma linguagem ousada e de grande apelo visual, com referncias tanto no universo
asitico quanto em tradies do mundo ocidental. Temas vistos em imagens de
publicidade popular e do consumismo urbano so revistos em sua obra. Outro
tema dominante a relao entre o indivduo e as massas sociais, levando em
considerao que a sociedade indiana dominada pelo movimento coletivo, ou
mesmo por relaes familiares envolvendo a convivncia de vrias geraes.
Para a mostra NDIA LADO A LADO foram selecionadas trs pinturas da srie
Haemoglyphics [Hemoglficos], as quais representam um corpo aberto mostrando
suas vrtebras, em uma perspectiva bastante visceral e, primeira vista, brutal.
Corpos so expostos como trofus, como resultado de uma conquista canibalstica.
Eles se encontram como em um processo de metamorfose, fenmeno este presente
no cotidiano das grandes cidades, onde seus habitantes se sentem pressionados
pela dinmica do dia a dia, tendo que se repensar e reinventar num exerccio
constante de sobrevivncia.
T. A.
Jitish
Kallat
Jitish Kallat incorporates various communication media in his work, which involves installations, photography, painting and
sculpture. His oeuvre is characterized by a bold language and strong visual appeal, with references to the Asiatic universe as well
as traditions of the Western world. Themes seen in images of popular advertising and urban consumerism are featured under a
new light. Another dominant theme is the relation between the individual and the social masses, taking into consideration that
Indian society is dominated by mass mobilizations, and by familial relations in a society where various generations often live
together in the same household.

For the show NDIA LADO A LADO three paintings from the artists Haemoglyphics series were selected, which represent
an open body, showing its vertebrae in a perspective that is extremely visceral, and at first sight, brutal. Bodies are displayed like
the trophies of a cannibalistic conquest. They are found in a process of metamorphosis, a phenomenon present in the day-to-day
life of the big cities, where the inhabitants feel the pressure of the everyday dynamics, having to continuously rethink and reinvent
themselves in a constant exercise of survival.
T. A.
Hemoglficos (Arquiplago das Dores) /
Haemoglyphics (Archipelago of Aches), 2009
leo e acrlico sobre linho, bronze /
oil and acrylic on linen, bronze
182,9 137,2 cm
Cortesia / Courtesy: Haunch of Venison, Londres / London
Fotografia / Photograph: Peter Mallet
50 51
Hemoglficos (Arquiplago das Dores) / Haemoglyphics (Archipelago of Aches), 2009
leo e acrlico sobre linho, bronze / oil and acrylic on linen, bronze
243,8 x 152,4 cm
Hemoglficos (Arquiplago das Dores) / Haemoglyphics (Archipelago of Aches), 2009
leo e acrlico sobre linho, bronze / oil and acrylic on linen, bronze
243,8 x 152,4 cm
52 53
Manjunath Kamath incorpora em sua obra diversos elementos da cultura indiana
reforados por questes polticas, sociais e econmicas. A obra aqui apresentada,
Vishnu Vilas, uma das mais complexas no contexto de sua produo respaldada na
histria da arte e cultura indianas.
Vishnu considerado o preservador da vida na teologia hindu, sua funo a
preservao da terra e da vida diante de calamidades inesperadas. Ele pode oscilar
entre as posturas de vtima e de agressor, diante das circunstncias. O artista,
porm, representa Vishnu em uma postura de perdedor/vencido/destrudo. Essa
representao causa certa dualidade ao questionar a postura de Vishnu em si.
A partir da abre-se um amplo leque de questionamentos referentes tradio,
histria e cultura.
A obra, no formato de videoinstalao, revela em si diversas camadas do contexto
local. A fragilidade da tradio e da histria local representada pela queda da
figura de Vishnu. Ao cair, esse objeto atinge uma mesa ornamental, supostamente
como simbologia do perodo colonial. Alm da mesa semidestruda e cada h um
televisor, como se este tivesse sido atingido pela queda de Vishnu de cima da mesa
e tivesse sido arremessado e desmembrado desse contexto. O televisor apresenta
um vdeo em loop de um homem declarando algo indecifrvel, que pela sonoridade
parece ser um alerta.
Eis a um alerta quanto transio que a ndia vivencia h sculos, em grau
crescente e cada vez mais polarizado.
T. A.
Manjunath
Kamath
In his work, Manjunath Kamath incorporates various elements from Indian culture to shed light on political, social and economic
issues. The work presented here, Vishnu Vilas, is one of the most complex in the context of his production supported by the
history of Indian art and culture.
Vishnu is considered the preserver of life in Hindu theology, preserving the earth and life in the face of unexpected calamities. He
can oscillate between the roles of victim and aggressor, depending on the circumstances. The artist, however, represents Vishnu in
a loser/vanquished/destroyed condition. This representation gives rise to a certain duality by questioning the posture of Vishnu per
se. This opens a wide range of questionings in regard to tradition, history and culture.

This artwork, in the format of a video installation, reveals various levels of the local context. The fragility of the local history is
represented by the fall of the figure of Vishnu. As it fell, the object hit an ornamental table, supposedly symbolizing the colonial
period. Beside the half-destroyed table and the fallen statue, a television set lies tilted on the floor, as though it was thrown into
this position when the figure of Vishnu fell onto the table. The television shows a looping video of a man shouting something
indecipherable, like an alarm siren.

This is a warning about the transition that India has been undergoing through the centuries a process that is becoming
increasingly intense and polarized.
T. A.
54 55
Vishnu Vilas, 2008
fibra de vidro, madeira, monitor de TV e vdeo (em loop) /
fiberglass, wood, TV monitor and video (loop),
edio nica / single edition
Cortesia / Courtesy: Gallery Espace, Nova Delhi / New Delhi
56 57
Nalini Malani expressa em seus desenhos, pinturas, instalaes e vdeos uma sutil
metamorfose, banhada em uma narrativa nica do universo feminino. A artista surgiu
em meados da dcada de 1960, quando o cenrio artstico indiano era dominado
pela presena masculina. Desde ento sua obra um alerta posio complexa da
mulher na sociedade patriarcal indiana.
Temas como sexualidade, opresso, ansiedade e autorreflexo, entre outros, so
transpostos primeira vista de forma ldica, em um universo de suaves cores pastis
envolto em ornamentos. Um segundo olhar, mais minucioso, percebe que a suavidade
das figuras femininas a representadas se encontra em perigo, rodeada por seres
indecifrveis em forma de manchas desagradveis a se mesclar com os corpos
frgeis das protagonistas. Objetos cortantes so apontados como instrumentos de
agresso, e animais indesejveis, como crocodilos, tambm invadem o cenrio.
Surge a um duelo entre o bem e o mal, agressor e vtima, com grande riqueza de
traos, contornos, expresses e narrativas envoltos em uma inigualvel riqueza
esttica. Esse cenrio intenso remete a prticas antropofgicas do consumo, em
parte ou em vrias partes, da totalidade do ser humano. Mesmo que esse termo no
seja empregado aqui literalmente, ele passa a ser tido como metfora da represso
mulher na sociedade.
Nesta mostra apresentamos a obra Tales of Good and Evil [Contos do Bem e do Mal],
a qual carrega em si a dualidade da vida contempornea dividida entre o bem e o mal.
T. A.
Nalini
Malani
In her drawings, paintings, installations and videos, Nalini Malani expresses a subtle metamorphosis, bathed in a unique narrative
of the female universe. The artist emerged in the mid-1960s, when the Indian art scene was dominated by males. Since then her
work has been raising awareness concerning the womans complex position in Indias patriarchal society.

At first sight, themes such as sexuality, oppression, anxiety, self-reflection and others are transposed in a playful way, in a world of
soft pastel colors enveloped in ornaments. A more careful look, however, will reveal that the smoothness of the female figures is
in jeopardy, as they are surrounded by indecipherable beings in the form of ominous blotches that mix with the protagonists fragile
bodies. Sharp objects appear as tools of aggression, and threatening animals, like alligators, also invade the scene.

This gives rise to a duel between good and evil, aggressor and victim, with a wealth of lines, contours, expressions and
narratives enveloped in an unparalleled aesthetic richness. This intense scenario alludes to the anthropophagic practices of
consumption, of part or various parts of the human being as a whole. Even though this term is not used literally here, it becomes
a metaphor for the repression of the woman in society.

In this show we present the work Tales of Good and Evil, which bears within it the duality of contemporary life divided
between good and evil.
T. A.
Contos do bem e do mal / Tales of Good and Evil, 2008
impresso digital com pigmento sobre papel Hahnemhle, bambu / digital pigment printing on Hahnemhle paper, bambou
205,5 x 274 cm
Cortesia / Courtesy: Galerie Lelong, Paris
Fotografia / Photograph: Fabrice Gilbert
58 59
Contos do bem e do mal (detalhe) / Tales of Good and Evil (detail), 2008
68,5 x 68,5 cm
Contos do bem e do mal (detalhe) / Tales of Good and Evil (detail), 2008
68,5 x 68,5 cm
60 61
A mostra NDIA - LADO A LADO conta com um conjunto de fotografias sob
curadoria do PIX Collective, grupo de jovens fotgrafos, pesquisadores e curadores
coordenado por Rahaab Allana e com um corpo editorial e fotoeditorial composto por
LUCIDA Photo Collective, Akshay Mahjan, Kaushik Ramaswamy e Nandita Jaishankar.

PIX , tambm, uma revista de periodicidade trimestral com temas especficos. Seus
participantes vm de contextos distintos e apresentam diversas vises de um mesmo
tema, estipulado pelo editorial. A procedncia inusitada dos fotgrafos resulta em
um vasto panorama e em um olhar mltiplo sobre o contexto indiano. A seleo dos
participantes democrtica, pois a inscrio aberta ao pblico. Esses profissionais
e amadores leigos, mas fotgrafos legtimos em sua essncia apresentam obras
de carter documental ou fictcio, e fazem uso de meios digitais e novas mdias.
Os artistas selecionados para a mostra NDIA LADO A LADO, Swarup Dutta,
Gareth Kingdon, Ronny Sen, Manu Thomas, Rajesh Vora, Neha Malhotra, Sangeeta
Rana, Mhesh Shantaram, Abhijit Nandi e Aditya Pande, apresentam um conjunto
variado de cores, focos e perspectivas. Segundo o editorial da revista, A estrutura
de PIX baseia-se conscientemente em prticas, tecnologias, curadoria e circulao
de fotografia na ndia atual. Busca contemplar a fotografia no presente e o
estabelecimento de uma gerao influenciada pelo meio digital. A fotografia passou
a ser vista como uma mdia do cotidiano, que possui o poder de nos influenciar e
at mesmo nos induzir a erro. As imagens, agora, so seres animados, com desejos
prprios, e noes contemporneas da teoria da imagem associam a fotografia com
as artes visuais, a literatura e a mass media.
T. A.
Collective
PIX
The show NDIA LADO A LADO includes the presentation of photographs curated by PIX Collective, a group of young
photographers, researchers and curators, edited by Rahaab Allana with a photo-editorial and editorial team comprising LUCIDA
Photo Collective, Akshay Mahjan, Kaushik Ramaswamy and Nandita Jaishankar.

PIX is also a quarterly magazine with specific themes. The editors stipulate a theme, and the participants, from different
contexts, present their own view of it. The unusual background of the photographers results in a vast panorama and a multiple
look at Indian life. The participants are selected democratically, since the signup is open to the public. These professionals and
amateurs laymen but legitimate photographers in their essence make use of digital and new media to present works of a
documentary or fictional character.
The artists selected for the show NDIA LADO A LADO, Swarup Dutta, Gareth Kingdon, Ronny Sen, Manu Thomas, Rajesh Vora,
Neha Malhotra, Sangeeta Rana, Mhesh Shantaram, Abhijit Nandi and Aditya Pande, present a wide gamut of colors, focal points
and perspectives. According to the magazines editors, The structure for PIX is consciously based on practices, technologies,
curating and circulations of photography in India today. It seeks to contemplate photography in the present and the predicament of
a generation influenced by the digital medium. Photography has come to be viewed as a means of the everyday, in possessing the
power to influence us and even lead us astray. Images are now animated beings, with desires of their own and have started being
cast into contemporary notions of picture theory associated with the visual arts, literature and mass media.
T. A.
Rajesh Vora
Jovem usando um medalho / Young girl wearing a medallion, Orissa, 1976
videoprojeo de fotografias / video projection of photographs
62 63
Swarup Dutta
Avs - Sries 1/ Grandmothers - Series 1, Calcut / Kolkata, 2003
Ronny Sen
No respire / Dont Breathe, 2009-10
Manu Thomas
Vendedor de bales em um metr perto de Ali Haji /
Balloon seller in a subway near Haji Ali, Mumbai, 2010
Gareth Kingdon
Cidades escondidas / Hidden Cities, Dharavi
64 65
Pushpamala uma artista performtica que incorpora protagonistas da histria e
da sociedade indiana em cenrios que ela mesma cria e posteriormente fotografa,
muitas vezes expondo a fotografia como obra final.
Para a mostra no Brasil, Pushpamala elabora uma obra site-specific como um
tableau vivant. Ela cria uma instalao semelhante a um cenrio ou mesmo a um
quadro que poderia ser visto como pano de fundo para o contexto a exposto. Essa
prtica da fotografia elaborada era recorrente nos estdios fotogrficos da cidade
de Mumbai, principalmente no sculo XIX. Nessa obra ela pretende explorar a
temtica da Nao como me, como um ser superior, que mantm todo o universo
local sob controle de forma matriarcal, como muitas vezes acontece na sociedade
indiana. Nesse cenrio ela acumula elementos, como um arquivo ou mesmo um
museu que resguarda e ressalta elementos do cotidiano. Desde que surgiu a ideia
de Me ndia no final do sculo XIX, no incio do movimento nacionalista, tem havido
muitas representaes diferentes da ndia, personificada como a deusa Kali, como
a vaca, como Durga ou como a figura Sadhu, criada por Rabindranath Tagore, para
citar somente algumas delas.
O trabalho analisa e rev a histria como um teatro de ensaio de uma Nao e da
formao da nacionalidade.
T. A.
Pushpamala N.
Pushpamala is a performance artist who incorporates protagonists from Indian society and history in scenes that she herself
creates and later photographs, often exhibiting the photograph as the final work.

For the show in Brazil, Pushpamala has elaborated a site-specific work as a tableau vivant. She creates installations similar to a
scenario or even a painting that can be seen as a backdrop for the context exhibited. This elaborate photographic technique was
often practiced in the photographic studios of the city of Mumbai, especially in the 19th century. In this work she aims to explore
the theme of the nation as a mother, as a superior being, that maintains the entire local universe under control in a matriarchal way,
as often occurs in Indian society. In this scenario she accumulates elements, like an archive or even a museum that conserves
and displays elements of daily life. Since the idea of mother India arose in the late 19th century, at the beginning of the nationalist
movement, there have been many different representations of India, personified as the goddess Kali, a cow, Durga, or the figure of
Sadhu, created by Rabindranath Tagore, to cite just a few.

The work analyzes and reviews history as a theater for the rehearsal of a nation and the formation of nationality.
T. A.
Ptria: onde os anjos temem pisar... /
Motherland: Where Angels Fear to Tread..., 2011
instalao com materiais diversos / mixed media installation
Cortesia / Courtesy: Gallery Nature Morte, New Delhi/Berlin
66 67
Ptria: onde os anjos temem pisar... /
Motherland: Where Angels Fear to Tread..., 2011
Cortesia / Courtesy: Gallery Nature Morte, New Delhi/Berlin
Desde a criao da ideia de Me ndia no final do sculo XIX, no incio do movimento
nacionalista, surgiram vrias representaes diferentes da ndia, personificada como
a deusa Kali, como a Me Vaca, como Durga, ou ainda como a figura Sadhu, criada
por Abanindranath Tagore em sua famosa aquarela Bharatmata, para citar apenas
algumas delas. Os cones esto posicionados como numa fotografia de grupo, ou
como em um diorama de museu.
Since the creation of the idea of Mother India in the late 19th century at the beginning
of the nationalist movement, there have been many different representations of India
personified as the goddess Kali, as the Mother Cow, as Durga, or as the sadhu figure
created by Abanindranath Tagore in his famous watercolour painting Bharatmata, to
name some of them. The icons are staged posing as if for a group photograph, or as
placed in a museum diorama.
68 69
Os membros deste coletivo iniciaram-se na rea de cinema e trabalham em
conjunto h quase duas dcadas. Os temas de suas obras so a paisagem urbana
diante da experincia e do significado do uso das novas mdias e tecnologias,
bem como os conhecimentos tradicionais da cultura indiana ligados ideia de
contemporaneidade e de criatividade.
A cidade de Delhi muitas vezes o tema de seu trabalho, assim como mitos e
histrias do sul da sia. Os artistas relutam, porm, em defender um rtulo de arte
indiana, argumentando que representam uma abstrao e que falam por si, por meio
de sua obra, que assume mais e mais um carter conceitual. Altamente sensveis
s vertentes culturais e intelectuais do mundo, eles so crticos da temtica do
nacionalismo, do multiculturalismo e da identidade, preferindo encontrar outras
formas para narrar histrias pessoais e sociais.
Para a mostra NDIA LADO A LADO foi recriada uma obra proveniente de uma
srie chamada de Collective Proverbs [Provrbios Coletivos]. Provrbios oriundos da
cultura popular indiana so extrados desse contexto e apresentados sob a forma de
letreiros estilizados, com luzes e cores, tendo partes das frases acesas intercaladas,
elaborados no intuito de dialogar com o pblico em geral. Inicia-se, assim, um
experimento de absoro ou no da tradio escrita e oral em um novo ambiente.
Os provrbios aqui utilizados so: Memory fades but does not forgive [A memria se
apaga, mas no perdoa], Money talks but does not remember [O dinheiro fala, mas
no lembra], e Laughter echoes but does not answer [O riso ecoa, mas no responde].
Repletos de contradio, esses provrbios enaltecem o jogo de poder enraizado em
questes econmicas e na tradio indiana.
T. A.
Raqs Media
Collective
Jeebesh Bagchi, Monica Narula e Shuddhabrata Sengupta
The members of this artist collective Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta began in the area of cinema
and have been working together for nearly two decades. Their works deal with the urban landscape in light of the experience and
meaning of the use of new media and technologies, as well as the traditional knowledge of Indian culture linked to the idea of
contemporaneity and creativity.

Their work often takes the city of Delhi as its theme, as well as myths and stories of South Asia. The artists are reluctant, however,
to have their work labeled as Indian art, arguing that they represent an abstraction and speak for themselves, by way of their work,
which over time has become more conceptual. Highly aware of worldwide intellectual and cultural trends, they are critical of the
thematics of nationalism, multiculturalism and identity, preferring to find other ways to narrate personal and social histories.

For the show NDIA LADO A LADO they have re-created a work deriving from a series called Collective Proverbs. Proverbs
from Indian popular culture are extracted in this context and presented in the form of stylized signs bearing interlinked phrases,
parts of which are emphasized with colors and lights, elaborated with the aim of dialoguing with the general public. This begins an
experiment of absorbing, or not, the written and oral tradition in a new setting. The proverbs used here are Memory fades but does
not forgive, Money talks but does not remember, Laughter echoes but does not answer. Full of contradiction, these proverbs extol
the power game rooted in economic issues and Indian tradition.
T. A.
Provrbios coletivos / Collective Proverbs, 2011
3 painis (MDF + LEDs + sequenciador luminoso) /
3 panels (MDF + LEDs + lighting sequencer)
220 x 120 cm (cada painel / each panel)
Cortesia dos artistas / Courtesy of the artists
70 71
Fotografia / Photograph: Guilherme Isnard Fotografia / Photograph: Guilherme Isnard
72 73
Suas esculturas tm um forte carter tnico, lidando sempre com a relao entre
uma figura feminina e um hbrido cultural num contexto urbano e rural. Formas
exageradas, ricos ornamentos e cores fortes destacam a presena e o papel da
mulher na sociedade indiana.
Apesar do forte apelo popular, sua obra de grande repercusso internacional
no contexto da arte contempornea, o que torna Ravinder um precursor da
disseminao do aspecto popular da cultura indiana ele aceito nos contextos
mais elaborados e sofisticados da arte atual internacional. Para esta mostra, Ravinder
elabora uma obra indita sob dois aspectos: pela monumentalidade e pelo tema a ser
representado, a migrao, existente hoje tanto no contexto local como em mbito
internacional em razo das diversas crises do mundo globalizado.
Esta escultura tem o formato de uma cabea feminina que carrega uma enorme
sacola onde se encontram, provavelmente, todos os seus pertences. Apesar da
monumentalidade da obra, que a torna algo bruto em seu formato, Ravinder transpe
sua musa uma postura esplendorosa.
Apesar de ser uma simples migrante, a personagem possui a aura e a postura
de uma nobre. Dessa forma Ravinder enaltece os membros das camadas mais
populares da sociedade indiana, dando a eles uma dignidade exuberante.
T. A.
Ravinder
Reddy
His sculptures have a strong ethnic character, always dealing with the relation between a female figure and a hybrid culture
in an urban and rural context. Exaggerated forms, rich ornaments and strong colors highlight the presence and role of the
woman in Indian society.

Despite its strong popular appeal, his work has had a great impact on the international contemporary art scene, making Ravinder
a pioneer in the dissemination of the popular aspect of Indian culture he is accepted in the most elaborate and sophisticated
contexts of current international art. For this show, Ravinder has created an artwork that is entirely new in two aspects: for its
monumentality and for the theme represented migration, which exists both in the local and the international context due to the
various crises of the globalized world.

This sculpture has the form of a female head with a huge bag perched on top, which probably contains all her belongings. Although
the works monumentality lends it a sort of crudeness, Ravinder has imbued his muse with stateliness.

Despite being a simple migrant, the character possesses the aura and pose of a noble person. In this way, Ravinder exalts the
members of the more popular segments of Indian society, giving them an effusive dignity.
T. A.
Migrante / Migrant, 2011
escultura em polister, resina e fibra de vidro /
sculpture in polyester, resin, fiberglass
450 x 200 x 200 cm
Coleo do artista / Artists collection
Cortesia / Courtesy: Walsh Gallery, Chicago
74 75
76 77
O contexto do trabalho da artista a preocupao com o indivduo e sua posio
em uma sociedade em rpida mudana ele pode ser arruinado ou melhorar de
vida, pelas circunstncias sociais e polticas em que se encontra. Suas pinturas
e instalaes normalmente retratam pessoas comuns, assim como momentos
polticos decisivos ou ainda a atuao social, para impedir que os protagonistas
annimos da sociedade se tornem esquecidos ou abandonados, vtimas do
anonimato da cidade grande.
Os conflitos polticos da atualidade e as desavenas nas fronteiras entre os pases
so tambm temas recorrentes em sua obra. Na instalao Colostrum [Colostro] a
artista lida com o recente passado colonial de seu pas de forma crtica, dando voz
agresso fsica pela qual passou o povo humilde naquela poca.
A instalao composta de elementos suntuosos em contraste com a pobreza. Uma
coroa em formato monumental exposta ao lado de um sapato de salto alto e de um
corset. Esses elementos fazem parte de um cenrio bem elaborado, envolto em papel
de parede com ornamentos suntuosos, tudo demarcado pela forte cor vermelha. Ao
deparar com os elementos singulares da instalao, o visitante percebe que a pompa
a enaltecida composta pela repetio de cenas de agresso, todas incrustadas nos
objetos expostos e tambm desenhadas sutilmente no papel de parede, como um
fantasma do passado a se desfazer em seus flexveis contornos vermelhos.
T. A.
Reena
Kallat
The artists work evinces a concern for the individual and his/her position within a society undergoing rapid change where
ones life can be ruined or improved by ones social and political circumstances. Her paintings and installations normally depict
common people, as well as decisive political moments or even social action, to prevent the anonymous protagonists of society from
becoming forgotten or abandoned, victims of the anonymity of the big city.

Todays political conflicts and the squabbles along national borders are also recurrent themes in her work. In the installation
Colostrum the artist deals with her countrys recent colonial past in a critical way, giving voice to the physical aggression suffered
by the lower-class people of that era.

The installation is composed of sumptuous elements in contrast with poverty. A crown in monumental format is displayed alongside
a stiletto shoe and a corset. These elements are part of a well-elaborated scenario surrounded with elegantly ornamented
wallpaper, marked by a strong shade of red. While encountering the singular elements of the installation, the visitor perceives that
the splendorous decorative details on the objects and the wallpaper are actually repetitive scenes of aggression, like ghosts of the
past becoming undone in their flexible red outlines.
T. A.
Colostro / Colostrum, 2008-2011
Cortesia do artista e de / Courtesy of the artist and Chemould Prescott Road, Mumbai
78 79
Fotografia / Photograph: Motivo Fotografia / Photograph: Paulo Jabur
80 81
Riyas Komu um artista que trabalha com vrios meios artsticos para dar voz a
testemunhos sociais, polticos e econmicos.
Apresentamos aqui sua mais recente obra, intitulada Roll Models [Modelos em
rolo]. Essa instalao composta de vitrines individuais, cada uma resguardando
uma pessoa annima do cotidiano. A obra uma aluso produo em massa, to
propagada na ndia em razo do grande aumento na mo de obra disponvel. Riyas
d visibilidade a esses protagonistas, mas de forma parcial, como acontece na
prpria sociedade.
A instalao composta de 11 vitrines individuais, cada uma resguardando um rolo,
por assim dizer, pessoal. Cada rolo tem 40 metros de comprimento, e nele esto
impressas imagens de trabalhadores braais, ocupando toda a superfcie do material.
O artista nos permite visualizar apenas uma parcela das pessoas retratadas e, muitas
vezes, somente o olhar elemento decisivo e muitas vezes nico no dilogo annimo
dos grandes centros urbanos.
Eis a uma parcela de comunicao intercultural e intersocial. Sem dvida, alguns
desses olhares solitrios encontraro paralelo na sociedade brasileira.
T. A.
Riyas
Komu
The artist Riyas Komu works with various artistic media to give voice to social, political and economic issues.

Here we present his most recent work, entitled Roll Models. This installation is composed of individual showcases, each preserving
an anonymous person from everyday life. The work is an allusion to mass production, widespread in India due to the burgeoning
labor force. Riyas lends visibility to these protagonists, but only partially, just as in society itself.

The installation is made up of 11 individual showcases, each one containing a roll, symbolizing a person. Each of the 40-meter-
long rolls reveals the printed image of a manual laborer on the visible part of its rolled-up surface. The artist only allows us to see
a part of the people portrayed and, often, only their gaze a decisive detail which is often the only element in the anonymous
dialogue in the large urban centers.

Here we have a slice of intercultural and intersocial communication. Without a doubt, some of these solitary looks will find their
parallel in Brazilian society.
T. A.
Modelos em rolo (detalhe) / Roll Models (detail), 2011
impresso digital sobre tecido polimicro / digital print on polymicro textile
111,76 x 20,32 x 20,32 cm (cada moldura / each frame)
Cortesia do artista e de / Courtesy of the artist and Sakshi Gallery, Mumbai
82 83
84 85
Sheba Chhachhi elabora em suas obras uma crnica da sociedade contempornea
indiana e de suas preocupaes atuais, muitas vezes respaldada na mitologia ou na
tradio milenar de seu pas. A artista faz uso de novas mdias e apresenta nesta
mostra brasileira a obra interativa Bhogi/Rogi (Consumption Disease) [Bhogi/Rogi
(Doena de consumo)]. O visitante entra em um ambiente fechado, o qual capta sua
imagem e a reproduz no espao externo, passando por uma metamorfose. Sobre o
corpo do visitante h uma projeo interativa que se modifica aos poucos e passa a
cobri-lo, dando-lhe a sensao e a experincia de ser constitudo e transformado por
aquilo que consome na vida cotidiana, incluindo alimentos, informaes e produtos de
consumo. A ideia de Sheba Chhachhi explorar o processo contnuo de consumo-
-produo-homogeneizao da civilizao contempornea, principalmente atravs de
alimentos transgnicos.
Como em uma metamorfose o corpo do visitante interativo passa a ser transformado,
perdendo em partes seu contorno, mincias, contedo. Como uma tatuagem, os
elementos de consumo vo tambm cobrir todo o corpo do visitante ou do grupo
que estiver nesse espao. Esta obra oscila entre um ritual milenar e uma experincia
futurista, o corpo passa a ser utilizado como forma de expresso e associao
cultural, graas aos elementos nele inseridos ou por ele manipulados em seu entorno.
T. A.
Sheba
Chhachhi
In her artworks, Sheba Chhachhi elaborates a narrative of contemporary Indian society and its current concerns, often supported
in the countrys mythology or age-old tradition. In this Brazilian show, the artist uses new media to present the interactive work
Bhogi/Rogi (Consumption Disease). The visitor enters a closed space, where his/her image is captured and reproduced in the
external space, going through a metamorphosis. A gradually modified interactive projection progressively covers the visitors body,
giving him/her the sensation and experience of being constituted and transformed by what is consumed in daily life, including food,
information and consumer products. Sheba Chhachhis idea is to explore the continuous process of consumption-production-
homogenization in contemporary civilization, mainly by way of transgenic foods.

As though it were undergoing a metamorphosis, the visitors body is transformed, losing parts of its outlines, details and content.
Like a tattoo, the elements of consumption also cover the bodies of the individual or group that enters this space. This work
oscillates between an age-old ritual and a futuristic experience, the body being used as a form of expression and cultural
association, thanks to elements inserted in it or manipulated by it in its environment.
T. A.
Bhogi/Rogi (Doena de consumo) / Bhogi/Rogi (Consumption Disease), 2010
vdeo interativo / interactive video, 5 min 30 s
Cortesia / Courtesy: Walsh Gallery, Chicago e / and Sheba Chhachhi,
em colaborao tcnica com / in technical collaboration with Thomas Eichhorn
86 87
88 89
Shilpa Gupta cria instalaes, vdeos e arte interativa, utilizando diversos meios de
comunicao para destacar questes como desejo, religio e a insegurana e a
incerteza da vida contempornea, causadas por decises polticas e sociais.
Os trabalhos so normalmente respaldados por uma grande sutileza narrativa,
construda atravs de poucos recursos, porm aplicados de forma vigorosa. Expomos
aqui a obra BlindStars StarsBlind [EstrelasCegas CegasEstrelas], que se refere a
expectativas sociais principalmente em sociedades nas quais as margens de suas
castas so flexveis. O objeto formado por um jogo de luzes que se revezam,
tornando as palavras parcialmente visveis. Elas ficam na penumbra e s se tornam
visveis quando se acendem as luzes que compem determinada palavra.
O brilho das palavras passa a ofuscar, assim como o brilho falso de certos contextos
artificiais. Tendo uma populao em sua maioria composta por jovens, essa parcela
da sociedade indiana se deixa levar por iluses e promessas provenientes da mdia e
propagadas principalmente por ela.
T. A.
Shilpa
Gupta
Shilpa Gupta creates installations, videos and interactive art, using various communication media to highlight questions like desire,
religion and the insecurity and uncertainty of contemporary life, brought on by political and social decisions.

Her works are normally supported by a great deal of narrative subtlety, constructed by means of few resources which are
nevertheless vigorously applied. Here we are showing the work BlindStars StarsBlind, which refers to the social expectations
mainly in societies with flexible borders between its social classes/castes. The object is made up of an interplay of lights that
alternate to make the words partially visible. They remain in the shadow and can only be seen when the lights that compose a
given word are turned on.

The brightness of the words can make it hard to see them, just like the fake dazzle of certain artificial contexts. With a population
consisting mainly of young people, this segment of Indian society allows itself to be misled by illusions and promises spread mainly
by the communication media.
T. A.
EstrelasCegas CegasEstrelas / BlindStars StarsBlind, 2008
instalao com luz e texto / light-text-installation
457 cm (dimetro / diameter)
Cortesia / Courtesy: Sakshi Gallery, Mumbai
90 91
92 93
Surekha uma artista cuja prtica atual focada rigidamente na produo de vdeos.
Esse meio foi escolhido por ser fiel realidade, ou seja, realidade vivenciada em
seu cotidiano. O resultado passa a existir na fronteira entre documentrio e fico,
sem que o espectador note claramente a fronteira entre os dois contextos.
O cenrio utilizado pela artista usualmente o espao urbano e muitas vezes a
cidade de Bangalore, onde Surekha nasceu e vive at hoje, exceto nas pausas
devidas participao regular em projetos de residncia artstica internacionais.
Bangalore conhecida no cenrio artstico indiano pela dinmica criada pelos
coletivos e pelos espaos de arte no comerciais dirigidos pelos prprios artistas.
Essa uma plataforma propcia para a tendncia experimental, sem compromisso
com tendncias mercadolgicas, e permite que os artistas sigam suas prprias
premissas, a salvo das presses usuais desse contexto.
Provavelmente so essas condies locais que induzem Surekha a uma busca
despretensiosa, em seu cotidiano, por protagonistas annimos, responsveis pela
composio de seu universo. Nesta mostra expomos o vdeo Romeos & Juliets
[Romeus & Julietas], no qual a artista capta uma prtica da terapia do riso matinal.
Em uma praa pblica, idosos se encontram regularmente no perodo da manh
para compartilhar seus risos. Eles interagem sem o uso de palavras, somente atravs
da mmica e do som do riso. Surekha atua como uma arqueloga do espao social
urbano a desbravar e escavar fragmentos culturais, pessoais e histricos que passam
despercebidos no cotidiano das grandes cidades.
T. A.
Surekha
Surekhas current practice is rigidly focused on the production of videos. This medium was chosen for being faithful to reality, that
is, to the reality experienced in day-to-day life. The result lies on the border between documentary and fiction, the observer being
unable to clearly distinguish the line separating the two contexts.
The artists videos are usually set in the urban space and often in the city of Bangalore, where Surekha was born and continues to
live today, except when she is participating in artists residencies abroad, as she does on a regular basis. Bangalore is known for
the dynamic scene created among its artist collectives and in noncommercial art spaces directed by the artists themselves. This
platform lends itself to experimental art, with no commitment to marketing trends, allowing the artists to follow their own premises,
sheltered from the usual pressures of this context.

It is most likely these local conditions that have allowed Surekha to unpretentiously search her daily experience for anonymous
protagonists, responsible for the composition of her world. In this show we are featuring the video Romeos & Juliets, in which
the artist captures a therapeutic practice of morning laughter. In a public square, senior citizens regularly meet during the
morning to share their laughs. They interact wordlessly, by way of mimicry and the sound of their laughter. Surekha acts as an
archaeologist of the urban social space to discover and excavate cultural, personal and historical fragments that go unnoticed in
the daily life of the big cities.
T. A.
Romeus e Julietas / Romeos & Juliets, 2009
vdeo monocanal / single-channel video, 8 min 30 s
Assistente de edio / Editing assistance: H. A. Anilkumar;
Assistente de projeto / Project assistance: H. A. Anilkumar;
Conceito e direo / Concept and direction: Surekha
Cortesia da artista / Courtesy of the artist
94 95
Romeus e Julietas / Romeos & Juliets, 2009
vdeo monocanal / single-channel video, 8 min 30 s
Assistente de edio / Editing assistance: H. A. Anilkumar;
Assistente de projeto / Project assistance: H. A. Anilkumar;
Conceito e direo / Concept and direction: Surekha
Cortesia da artista / Courtesy of the artist
96 97
Os artistas Thukral & Tagra trabalham em conjunto desde o incio de sua carreira.
A dupla colabora com uma vasta diversidade de meios, incluindo pintura, escultura,
instalao, vdeo, impresso e design, como tambm em sites de msica e moda.
Sua obra se apresenta repleta de vitalidade, e o tratamento de cor exagerado
normalmente exibe um fascnio pelo consumismo, beirando a fronteira entre arte
e cultura popular. Apesar da tendncia global ao consumismo, Thukral & Tagra se
ocupam dessa temtica atravs de uma perspectiva indiana, toda respaldada no
dia a dia local. Dada a estratificao da ndia em classes sociais extremamente
diversificadas, o cotidiano agrega diversos estilos de vida e conduta. As obras
desses artistas so de linguagem direta e atraem o pblico em geral. Justamente
por isso eles passaram a adotar uma narrativa de apelo popular, passando a instruir
os jovens indianos quanto a prticas de conduta, incluindo a sexual, atravs do uso
de preservativos e outros meios. Criaram uma fundao financiada com a venda de
produtos por eles concebidos, cuja verba passa a ser revertida a programas sociais
para a juventude local. Para esta mostra os artistas criaram uma sala com aluso a
uma quadra de basquete intitulada Put it on [Coloque!], tendo como protagonistas
super-heris o Super Homem e a Mulher Maravilha , os quais, atravs de seu
poder de persuaso, vo instruir a sociedade para prticas sexuais seguras. A aluso
ao jogo de basquete tambm um instrumento de educao sexual, pois seus
elementos foram convertidos em metforas para o uso de preservativos.
T. A.
Thukral
Tagra
&
Thukral & Tagra have been working together since the beginning of their career. They collaborate as an artist duo in a wide
range of media, including painting, sculpture, installation, video, printmaking and design, as well as on Internet sites concerning
music and fashion. Their work exudes vitality, and their exaggerated treatment of color normally displays a fascination with
consumerism, positioned on the border between popular art and culture. Although consumerism is a global trend, Thukral
& Tagra approach this theme from an Indian perspective, entirely based on the local day-to-day experience. Due to Indias
stratification into extremely diverse social classes, everyday life involves a broad spectrum of lifestyles and behavior. The works
of these artists employ a straightforward language and attract the general public. For this very reason they have adopted a
narrative of popular appeal, teaching the Indian youth in regard to various behavioral issues including sexual practices, such as
the use of condoms and other aspects. They have created a foundation financed through the sale of products they conceive,
whose funds are reinvested in social programs for the local youth. For this show the artists have created a room alluding to a
basketball court entitled Put it on, where two superhero protagonists Superman and Wonder Woman use their power of
persuasion to teach society about safe sex. The allusion to the game of basketball is also a tool for sex education, since its
elements were converted into metaphors for the use of condoms.
T. A.
Jiten Thukral e Sumir Tagra
COLOQUE Acerte o alvo / PUT IT ON Shoot It Right, 2011
Instalao com materiais diversos / Mixed media installation
Cortesia / Courtesy: Thukral and Tagra Studio e / and Gallery Nature Morte, New Delhi/Berlin
98 99
Amor de fico (srie azul) # V / Fiction Love" (Blue series) # V, 2011
Impresso digital sobre papel / digital print on paper
122 x 92 cm
Cortesia / Courtesy: Thukral and Tagra Studio e / and Gallery Nature Morte, New Delhi/Berlin
100 101
T.V. Santhosh produz simultaneamente pintura e esculturas. Na pintura explora as
implicaes polticas da atualidade, transmitidas pela mdia. Na escultura, dedica-se
a temas ligados histria e mitologia transmitidos de gerao a gerao. O que
conecta sua pintura com a escultura a investigao sobre a histria da violncia
e do terror, sobre como ela evoluiu atravs de vrias fases, at a atualidade. As
questes especficas foram mudando, mas a forma de olhar o mundo permaneceu a
mesma. O artista assume ento, atravs de sua obra, a funo de orientador quanto
s transformaes por vir, como um vidente.
A instalao presente na mostra brasileira revela a confrontao do indivduo com
a realidade. Construda com poucos elementos, no deixa, entretanto, de transpor
a ideia do sagrado: uma longa mesa atua como altar, sua frente se encontra uma
cadeira vazia e solitria. Entre os dois elementos, percorre o piso um letreiro onde se
leem frases conflitantes, que soam como uma acusao ou uma lio moralista.
Eis a um tema recorrente da sociedade indiana, cujo peso recai principalmente nos
jovens, como um alerta para os riscos e tentaes que os envolvem.
T. A.
T.V.
Santhosh
T.V. Santhosh produces paintings and sculptures simultaneously. In his painting he explores current political implications broadcast
through the media. In his sculpture, he deals with themes linked to history and mythology transmitted from generation to generation.
What connects his painting with his sculpture is the investigation into the history of violence and terror, and how they have evolved
through various phases into what they are today. The specific issues have changed, but the way of looking at the world has remained
the same. Thus, through his work, the artist takes on the role of an adviser in regard to transformations yet to come, like a seer.

The installation featured in this Brazilian show reveals the individuals confrontation with reality. Although it is constructed of just
a few elements, it nevertheless conveys the idea of the sacred: a long table serves as an altar, with an empty and solitary chair
in front of it. On the floor between these two elements, an electric signboard spells out conflicting phrases, which seem like an
accusation or a moralist lesson.

The work thus alludes to a recurrent theme of Indian society, whose weight falls mainly on the youth, as a warning of the risks
and temptations they face.
T. A.
Rastreando o caminho do seu Angst / Tracing Down the Path of Your Angst, 2008
fibra de vidro e telas de LED / fiberglass and LED screens
Cortesia / Courtesy: The Guild Art Gallery, Mumbai, T.V. Santhosh
102 103
Fotografia / Photograph: Guilherme Isnard Fotografia / Photograph: Motivo
104 105
A formao inicial de Vishal K. Dar a arquitetura, exercida paralelamente prtica
das artes plsticas. Alis, sua atuao nas artes plsticas foi enfatizada pela prtica
e mentalidade arquitetnicas. Nessa rea os profissionais esto sempre lidando com
bordas, espaos e sua releitura mediante solues de ordem prtica e funcional.
Aproveitando a maleabilidade das fronteiras, Vishal K. Dar se volta para o entorno
de sua realidade, cujas fronteiras so mveis, e acaba por criar vdeos que ressaltam
Gandhi, por exemplo, como o precursor de um movimento de reestabilizao
sociocultural conquistado com o final do sistema colonial.
A obra C for Cutter [C de cortador] um exemplo disso. Repleta de ironia e
seriedade contextual, tem como protagonista o prprio Gandhi se deparando com
elementos inusitados da contemporaneidade. O ponto de partida dessa obra o
livro A clockwork orange [Laranja mecnica] de Anthony Burgess, publicado em
1962. Nesse romance o protagonista, Alex, cultua uma tendncia para a violncia
verbalizada em termos provenientes do vocabulrio da juventude russa da poca.
Ao se basear nesse texto, Vishal K. Dar enfatiza sobre uma nota de 500 rpias
as tenses polticas da humanidade em contraposio com o movimento pacifista
divulgado por Gandhi. O artista tambm chega a questionar como Gandhi receberia
as inmeras homenagens pstumas dedicadas a ele uma delas foi a impresso de
sua imagem na moeda nacional.
T. A.
Vishal
K. Dar
Vishal K. Dar was initially trained as an architect, and exercises this profession alongside his career in art. Indeed, his work in the
visual arts has been strongly influenced by architectural practice and thinking. In this area the professionals are always dealing with
edges, spaces and their rereading by means of practical and functional solutions. Taking advantage of the malleability of borders,
Vishal K. Dar focuses his work on the limits of his reality, whose borders are mobile, and winds up creating videos that underscore
Gandhi, for example, as the precursor of a movement of sociocultural re-stabilization achieved with the end of the colonial system.

The work C for Cutter is an example of this. Full of irony and contextual seriousness, his protagonist is Gandhi himself running
up against unusual elements of contemporary life. The starting point for this work is the book A Clockwork Orange by Anthony
Burgess, published in 1962. In this novel the main character, Alex, nurtures a tendency for violence verbalized in terms derived
from the jargon of Russian youths of that time. Basing his work on this text, Vishal K. Dar emphasizes features on a 500-rupy
note to refer to the political tensions of humanity in counterpoint to the pacifist movement propagated by Gandhi. The artist also
questions how Gandhi would react to the countless posthumous homages dedicated to him one of which is the printing of his
image on the national currency.
T. A.
C de cortador / C for Cutter, 2009
animao/projeo vdeo monocanal / single-channel video animation/projection, ed. 3 + 1AP, 1 min 17 s
Edio 1 na coleo permanente do / Edition 1 in the permanent collection of the Kiran Nadar Museum of Art, Nova Delhi / New Delhi
Representado por / Represented by Gallery Espace, Nova Delhi / New Delhi
106 107
108 109
Vivan Sundaram expressa em sua obra, por exemplo, o poder de persuaso
ecolgica como parte do processo de conscientizao social diante do crescimento
acelerado e desordenado da populao indiana. Essa temtica foi enfatizada muitas
vezes pelo artista em sries anteriores. As obras expostas no Brasil so inditas e
criadas mediante o resgate de roupas e objetos cados em desuso. Aps a coleta
e armazenagem adequada desse material, o artista passa a compor com um grupo
de assistentes um novo cdigo de design de vestimenta, atravs da reapropriao
do material reunido. Apresentamos no Brasil quatro objetos dessa srie, os quais
foram usados na abertura do evento por artistas performticos, dando volume, forma,
dinmica e alma obra exposta.
Vivan Sundaram apreciador da arte brasileira, familiarizado com diversas
tendncias. Em alguns encontros em seu estdio em Nova Delhi pudemos visualizar
sua participao nesta mostra criando um dilogo com a Tropiclia, vista pela
perspectiva da voz crtica diante do consumo de massa a ofuscar a represso
imposta pelo sistema ditatorial. A exemplo dos Parangols de Hlio Oiticica, Vivan
Sundaram revela em suas vestimentas um gingado adormecido a ser despertado
pela criatividade de seus usurios e pelos visitantes da mostra. O poder de expresso
das vestimentas infinito, assim como as distintas leituras que vo desde o apelo
reciclagem at a riqueza visual e sensualidade de suas formas, volumes, contornos
e materialidade compatvel com a diversidade da cultura indiana.
T. A.
Vivan
Sundaram
The themes that Vivan Sundaram expresses in his work include, for example the power of ecological persuasion as part of the
process for raising social awareness in regard to the accelerated and uncontrolled growth of the Indian population. This theme has
been seen recurrently in the artists previous series. The works shown in Brazil are new and created through the recovery of clothes
and objects that have fallen into disuse. After this material is collected and properly stored, the artist begins to work with a group of
assistants to compose a new design code for clothing, through the reappropriation of the material brought together. In Brazil we are
presenting four objects from this series, which were used in the opening of the event by performing artists, imparting volume, form,
dynamics and soul to the set of works exhibited.
Vivan Sundaram is an appreciator of Brazilian art, familiar with its various trends. In some of the meetings at his studio in New
Delhi we could visualize his participation in the show creating a dialogue with Tropiclia, in terms of how it criticized mass
consumption as a means of dulling public awareness in regard to the dictatorial systems repression. Similarly to Hlio Oiticicas
Parangols, Vivan Sundarams clothes reveal a sort of swing that lay dormant but is awakened by the creativity of their wearers
and the visitors to the show. The clothes power of expression is infinite, as are the different readings of this work, which range
from an appeal for recycling to an intense experience of visual richness, sensual shapes, volumes, outlines and materiality
compatible with the diversity of Indian culture.
T. A.
Performance, Rio de Janeiro, 2011
110 111
Fenda de borracha / Slit rubber, 2010
borracha, cetim / rubber, satin
= 100 cm, h = 170 cm (aprox.)
Vestido em couro cru / Rawhide, 2011
couro / leather
= 100 cm, h = 170 cm (aprox.)
Macaco feminino / Female Cargo, 2011
couro, metal, algodo / leather, metal, cotton
= 100 cm, h = 170 cm (aprox.)
Zper em volta / Zip around, 2011
zper e algodo / zippers and cotton
= 100 cm, h = 170 cm (aprox.)
112 113
Vivek Vilasini um fotgrafo que cria imagens interligando o passado e o presente.
Desse contexto ele extrai elementos originais, exticos, tradicionais e inovadores
a serem recombinados em seu processo artstico. Os habitantes das grandes
cidades indianas esto acostumados com a arquitetura bruta e inconsequente das
cidades. Vivek, porm, resolveu dedicar-se em parte arquitetura annima e sutil
de pequenos vilarejos, os quais aparecem nesta mostra, na obra Housing Dreams
[Sonhos de habitao], composta de trinta fotografias de residncias, todas tratadas
com grande esmero. Ao lidar com o espao externo fotografando as fachadas de
residncias cuidadosamente tratadas, o artista revela o carter e a preferncia da
populao local. H algumas dcadas, essas residncias possuam fachadas brancas
e simples, desgastadas pelo tempo. Atualmente, seus habitantes da regio rural de
Kerala fizeram uso de cores fluorescentes e saturadas. Esse contexto chamou a
ateno de Vivek Vilasini, o qual passou a captar imagens enfatizando assim, atravs
dessas novas fachadas, a construo de uma nova identidade cultural resultante
de mudanas scio-poltico-econmicas que abrangem no somente os grandes
centros indianos, mas tambm regies provincianas.
T. A.
Vivek
Vilasini
Photographer Vivek Vilasini creates images that interlink the past with the present. From this context he extracts original, exotic,
traditional and innovative elements which are recombined in his artistic process. The inhabitants of Indias big cities are used to the
crude and incoherent architecture they see all around them. Vivek, however, decided to dedicate himself in part to the anonymous
and subtle architecture of the small towns, which appear in this show in the work Housing Dreams, made up of thirty photographs
of splendidly finished homes. In dealing with the outdoor environment, photographing the faades of embellished residences,
the artist reveals the character and preferences of the local population. A few decades ago, these residences had simple,
white faades, with a rundown appearance. Currently, their inhabitants in the rural region of Kerala have painted them with
fluorescent and saturated colors. This context caught the attention of Vivek Vilasini, who began to capture their images in order to
emphasize, in light of these new faades, the construction of a new cultural identity arising from social-political-economic changes
that are underway not only in Indias large urban centers but also in the provincial regions.
T. A.
114 115
Sonhos de habitao / Housing Dreams, 2011
conjunto de 30 fotografias, impresso em papel Hahnemhle Photo Rag ultra liso /
set of 30 photographs, printed on Hahnemhle Photo Rag ultra smooth paper. Ed: 4/9 + 1 A/P
48,3 x 66,4 cm (cada pea / each work)
Cortesia / Courtesy: Gallery Sumukha, Bangalore
116 117
Os breves currculos inseridos neste
catlogo relacionam algumas das mostras
coletivas e individuais mais significativas
da trajetria dos artistas, realizadas entre
2004 e 2011.
The short curriculums in this catalogue
cite some of the more significant
exhibitions of the career of the artists,
realized between 2004 and 2011.
Curriculums
of the artists
Currculos
dos artistas
118 119
Baiju Parthan nasceu em / born in Kerala,1956
Individuais / Solo Exhibitions
2009 Syncytium / Cosmopolis Installation Living off The Grid Anant Art Gallery,
New Delhi
2009 Arpeggio for Abbe Faria Photo Installation Retrieval Systems Art Alive
Gallery, New Delhi
2008 Rorchach Breath Dual Channel Video
Mechanisms of Motion Anant Art Gallery, New Delhi
Third Life Bombay Art Gallery, Mumbai
2007 Liquid Memory Christian Hosp Galleries, Nassereith, Austria
2005 NRLA Live Art Festival, Midland, Perth, Australia
Coletivas / Group Exhibitions
2010 Go see India Vasa Konsthall, Gothenburg, Sweden
The 11th Hour Tang Contemporary Art Gallery, Beijing, China
2009 Indian Contemporary Benedictine Museum, Fecamp, France
Beyond Globalization Pan Asian contemporary show, Beyond Art Space,
Beijing, China
2008 Ghost of Souza Aicon Gallery, New York, USA
Everywhere is war Bodhi Art, Mumbai
101 Contemporary, Tokyo, Japan
2007 Aparanta Contemporary Art In Goa, Panjim
2006 Altered Realities (Shibu Nateshan, Baiju Parthan, Chiotrovanu Majumdar)
Arts India, New York, USA
Barthi Kher nasceu em / born in London,1969
2011 Leave your smell Gallery Emmanuel Perrotin, Paris, France
2010 Inevitable Undeniable Necessary Hauser & Wirth, London, UK
2008 Virus Baltic Centre for Contemporary Art, England, UK
Sing to them that will listen Gallery Emmanuel Perrotin, France
2007 An Absence of Assignable Cause Jack Shainman Gallery, New York, USA
Nature Morte, New Delhi
2006 Do not meddle in the affairs of dragons, because you are crunchy and taste good
with ketchup Gallery 88, Mumbai
2011 Maximum India Kennedy Center, Washington, DC, USA
2010 Indian Highway Herning Kunstmuseum, Denmark
Signs of Life. Ancient Knowledge in Contemporary Art Kunstmuseum Lucerne,
Switzerland
2009 Indian Narrative in the 21st Century: Between Memory and History Casa Asia,
Madrid, Spain
Shifting Shapes. Unstable Signs Yale University School of Art, New Haven, USA
Indian Highway Astrup Fearnley Museum, Oslo, Norway
Chalo! India: A New Era of Indian Art Essl Museum, Austria
2007 Indian Highway Serpentine Gallery, London, UK
Re-imagining Asia. A Thousand Years of Separation Haus der Kulturen der
Welt, Berlin, Germany
Chalo! India: A New Era of Indian Art Mori Art Museum, Tokyo, Japan
India Moderna Institut Valencia dArte Modern (Ivam), Valencia, Spain
Private/Corporate IV Sammlung DaimlerChrysler, Berlin, Germany
2006 Asia Pacific Triennale Queensland Art Gallery, Brisbane, Australia
2005 Indian Summer Lcole des Beaux-Arts, Paris, France
Manjunath Kamath nasceu em / born in Mangalore,1972

2007 108 Small Stories Gallery Espace, New Delhi
2009 Reclaim / Recite / Recycle Travancore Art Gallery, New Delhi & Bose-Pacia,
Kolkata
Human Animal Threshold Gallery, New Delhi
Arco Madrid, Spain
2008 Chaos in Order 29 Hang Bai, Hanoi, Vietnam
Keep Drawing Gallery Espace, New Delhi
The Ethics of Encounter Gallery SoulFlower, Bangkok, Thailand
Indiavata Sun Contemporary Art, Korea
Ltd. Edition Threshold Gallery, New Delhi & Mumbai
2007 Keep Drawing Pundole Art Gallery, Mumbai
Telling It Like It Is The Indian Story, Gallery Cork Street, London, UK
Emblems & Urban Regeneration Garnier Contemporary Arts, Air Gallery,
London, UK
Fact & Fiction SW1 Gallery, London, UK
Size Does not Matter Art Konsult Gallery, New Delhi & Mumbai
Thermocline of Art New Asian Waves ZKM / Museum of Contemporary Art,
Karlsruhe, Germany
I fear I believe I desire Gallery Espace, New Delhi
Reading Paint Gallery SoulFlower, Bangkok, Thailand
Aqua Aubergine Slate Gallery Espace, New Delhi
2006 Hybrid Trend Hangaram Museum, Seoul, Korea
Paper Flute Gallery Espace, New Delhi
Something Happened Gallery Espace, New Delhi
Nalini Malani nasceu em / born in Karachi,1946
2009 Cassandra Galerie Lelong, Paris, France
2008 Listening to the Shades Arario Gallery, New York, USA
2007 Nalini Malani Walsh Gallery, Chicago, USA
Irish Museum Of Modern Art, Dublin, Ireland
2006 Living in Alicetime Sakshi Gallery, Bombay and Rabindra Bhavan, New Delhi
2005-6 Exposing the Source: The Paintings of Nalini Malani, a retrospective exhibition
Peabody Essex Museum, Salem, Ma, USA
2004 Stories Retold Bose Pacia, New York, USA
2011 Paris-Delhi-Bombay Centre Pompidou, Paris, France
2009 Mater Universidad de Jan, Spain
National Galleries of Modern Art, New Delhi/Bangalore/Bombay
2008-9 The National Museum of Modern Art, Tokyo, Kyoto (Japan), Seoul (Korea)
2008 India Moderna Institut Valencia dArte Modern (Ivam), Valencia, Spain
Indian Highway Serpentine Gallery, London, UK
Revolutions Forms that Turn Biennale of Sydney, Cockatoo Island, Sydney,
Australia
2007 Think with the Senses, Feel with the Mind Art in the Present Tense Italian
Pavilion, Giardini, 52nd Venice Biennale, Venice, Italy
New Narratives: Contemporary Art from India Chicago Cultural Center, USA
2006 Cinema of Prayoga Tate Modern, London, UK
Local Stories Museum of Modern Art, Oxford, UK
2005 T1 The Pantagruel Syndrome, Castello di Rivoli, Museo dArte
Contemporanea, Turin, Italy
51st Venice Biennale, Italy
Recent paintings Armory Show, New York, USA
Gigi Scaria nasceu em / born in Kothanalloor,1973
2010 Open windows closed boundaries, Dubai art fair Gallery Chemould, Mumbai
2009 Amusement Park Gallery Chemould, Mumbai
Settlement Galerie Christain Hosp, Berlin, Germany
2008 Difficult to Imagine, Easy to construct Art Asia Miami, USA
Site under construction Video Space, Budapest, Hungary
New Perspective from India, Seoul/Delhi, recent photographs and video
H Cube Gallery, Seoul, Korea
2007 Absence of an Architect, video installations paintings and photographs, Palette
Gallery, New Delhi
2005 Where are the Amerindians? Inter America Space CCA7, Trinidad
2011 Everyone agrees: its about to explode India Pavilion, 54th Venice Biennale, Italy
3rd Singapore Biennale, Singapura/Singapore
2010 West Havens: Place time play India China Contemporary Art, curated by
Chitanya Sambrani Shanghai, China
Finding India Museum of contemporary art (Moca), Taipei, Taiwan
Samtidigt Indian contemporary art exhibition Helsinki City Art Museum,
Finland, and Kulturhuset, Stockholm, Sweden
Video Art India, curated by Luissa Ortinez Fundaci la Caixa, Barcelona, Spain
2009 A new Vanguard Guild, New York; Saffron Art, New York, USA
2008 Video Zone-4 The 4th International video art Biennial, Tel Aviv, Israel
Mam Screen Mori Art Museum, Japan
Chalo India Mori Art Museum, Tokyo, Japan
2007 Here There Now, Contemporary art from India Soulflower Gallery, Bangkok,
Thailand
Public Places/Private Spaces, Contemporary Photography and Video Art In India
The Newark Museum, New Jersey, USA
Horn Please, Narratives in contemporary Indian Art Kunstmuseum Bern,
Switzerland
Jitish Kallat nasceu em / born in Mumbai,1974
2011 Stations of a Pause Chemould Gallery, Mumbai
2010 The Astronomy of Subway Haunch of Venison, London, UK
2008 Aquasaurus Sherman Contemporary Art Foundation, Australia
Public Notice-2 Bodhi Art, Singapore
Universal Recipient Haunch of Venison, Zurich, Switzerland
2007 Sweatopia Chemould Prescott Road and Bodhi Art, Singapore
Unclaimed Baggage Albion, London, UK
365 Lives Arano, Beijing, China
Rickshawpolis-3 Gallery Barry Keldoulis, Sydney, Australia
2006 Rickshawpolis-2 Spazio Piazzasempione, Milan, Italy
2011 Maximum India The Kennedy Center, Washington, DC, USA
2010 Bring Me A Lion: An Exhibition of Contemporary Indian Art The Hunt Gallery,
Missouri, USA
2009 India Contemporary GEM, Museum of Contemporary Art, The Hague,
Netherlands
Die Tropen Martin Gropius Bau, Berlin, Germany
Chalo India: A New Era of Indian Art Mori Art Museum, Tokyo, Japan
GSK Contemporary Royal Academy of Arts, London, UK
2006 The 5th Asia Pacific Triennale of Contemporary Art Queensland Art Gallery,
Gallery of Modern Art, Brisbane, Australia
Passages Palais de Beaux-Arts, Brussels, Belgium
Lille 3000 Lille, France
The 6th Gwangju Biennale Gwangju, Korea
2005 Indian Summer cole Nationale Suprieure des Beaux-Arts, Paris, France
Pushpamala N. nasceu em / born in Bangalore,1956
2010 Motherland performance with Mamta Sagar, Samuha Artist Collective, Bangalore
2009 Paris Autumn Chemould Prescott Road, Mumbai
2008 Paris Autumn Bose Pacia, New York, USA; Nature Morte, New Delhi
2007 Streetside Theatre Salzburg Festival, Austria
2006 Pushpamala N Espace Croise, Roubaix, France
Paris Autumn Galerie Zurcher, Paris, France
Native Women of South India: Manners and Customs Bose Pacia, New York, USA
2005 Native Women of South India: Manners and Customs Nature Morte, New Delhi
2011 Paris, Mumbai, New Delhi Centre Pompidou, Paris, France
Samtidigt Helsinki City Art Museum, Finland; Kulturhuset, Stockholm, Sweden
2010 The Empire Strikes Back: Indian Art Today Saatchi Gallery, London, UK
Where Three Dreams Cross Whitechapel Gallery, London, UK; Winterthur
Fotomuseum, Switzerland
2009 Chalo! India: A New Era of Indian Art National Museum of Contemporary Art,
Seoul, Korea; Essl Museum, Vienna, Austria
Re Frame: 7 experimental films from India Centre Pompidou, Paris, France
2008 Chalo! India: A New Era of Indian Art Mori Art Museum, Tokyo, Japan
My India Video et Apres Centre Pompidou, Paris, France
2007 New Narratives: Contemporary Art from India Chicago Cultural Center, USA
2006 India Express Helsinki City Art Museum, Finland
Bombay Maximum City Lille 3000, Lille, France
Indian Video Art: Between Myth and History, part of Cinema Prayoga Indian
Experimental Film and Video 1913-2006 Tate Modern, London, UK
Raqs Media Collective
Monica Narula nasceu em / born in New Delhi,1969; Jeebesh Bagchi nasceu em / born in
New Delhi,1965; Shuddhabrata Sengupta nasceu em / born in New Delhi,1968
2009 The Surface of each day is a different planet Lightbox, Tate Britain, London, UK
When the scales fall from your eyes Ikon, Birmingham, UK
Escapement Frith Street Gallery, London, UK
Decomposition Asia Art Archive, Hong Kong
2006 There Has Been a Change of Plan Nature Morte Gallery, New Delhi
2005 They Called it the XXth Century Kunstlerhaus, Stuttgart, Germany
2004 The Impostor in the Waiting Room Bose Pacia, New York, USA
The Wherehouse Palais des Beaux-Arts, Brussels, Belgium
2011 Indian Highway IV Lyon Museum of Contemporary Art, France
2009 Chalo India Essl Museum, Vienna, Austria
Chalo India Mori Museum, Tokyo, Japan
The Art of Participation: 1950 to Now San Francisco Museumof Modern Art, USA
The Santhal Family Muhka, Antwerp, Belgium
2007 Horn Please Kunstmuseum, Bern, Switzerland
Not only possible but also necessary Istanbul Biennial, Istanbul, Turkey
The Thermocline of Art ZKM, Karlsruhe, Germany
Touring Show, Rhizome.Org New Museum of Contemporary Art, World Factory,
San Francisco Art Institute, San Francisco, USA
2006 Zones of Contact Sydney Biennial, Museum of Contemporary Art, Sydney,
Australia
Dark Places Santa Monica Museum of Art, California, USA
2005 Icon: India Contemporary 51st Venice Biennale, Venice, Italy
120 121
Ravinder Reddy nasceu em / born in Suryapet,1956
2008 Grosvenor Vadehra, London, UK
2007 Ravinder Reddy: Select Sculpture Bose Pacia Gallery, New York, USA
Incredible India Le Jardin dAcclimation, Paris, France

Adbhutam: Rasa in Indian Art Centre of International Modern Art (Cima), Kolkata
In Beauty Walsh Gallery, Chicago, USA
Go Figure Smart Museum of Art, University of Chicago, USA
2010 Modern Folk: The Folk Art Roots of the Modernist Avant-Garde Aicon Gallery,
New York, USA
2007-8 India Art Now: Between Continuity and Transformation Province of Milan, Italy
2007-8 Indian Art at Swarovski Crystal World Show 2nd Exhibition, Tirol, Austria
2007 20th Century Sculpture: from Archipenko to Reddy Grosvenor Gallery, London,
UK, in association with Vadehra Art Gallery, New Delhi
2007 Private/Corporate IV, A Dialogue of the collection Lekha and Anupam Poddar
New Delhi and Daimler Chrysler, Stuttgart/Berlin at DaimlerChrysler
Contemporary Potsdamer Platz Berlin, Germany
Reena Kallat nasceu em / born in New Delhi,1973
2011 Labyrinth of Absences Nature Morte, New Delhi
2009 Drift Primo Marella Gallery, Milan, Italy
2008 Silt of Seasons Chemould Prescott Road, Mumbai
Subject to Change without Notice Walsh Gallery, Chicago, USA
2006 Rainbow of Refuse Bodhi Art, Mumbai and Singapore
2005 Black Flute Nature Morte, New Delhi
2004 Black Flute Gallery Chemould, Mumbai
2011 The Vancouver International Sculpture Biennale Surrey Art Gallery, Canada
Maximum India The Kennedy Centre, Washington, DC, USA
Samtidigt Helsinki City Art Museum, Finland
India Today Arken Museum of Modern Art, Copenhagen, Denmark
2010 Roundabout City Gallery, Wellington, New Zealand
In Transition, New Art from India Richmond Art Gallery, Vancouver, Canada
The Empire Strikes Back Saatchi Gallery, London, UK
Urban Manners 2 SESC Pompeia, So Paulo, Brazil
2009 View Points and Viewing points National Museum of Fine Arts, Taiwan
Milan Galleria Triennale Museum, Milan, Italy
2008 Chalo! India A New Era of Indian Art Mori Art Museum, Japan
2007 Soft Power Asian Attitude Shanghai Zendai Museum of Modern Art,
Shanghai, China
New Narratives, Contemporary Art from India Chicago Cultural Centre, USA
Thermocline of Art New Asian Waves ZKM, Karlsruhe, Germany
2006 India Express Art and Popular Culture Art Museum Tennispalace, Helsinki City
Art Museum, Finland
Shilpa Gupta nasceu em / born in Mumbai,1976
2011 Will we ever be able to mark enough? Darling Fonderie, Montreal, Canada
2010 A Bit Closer Contemporary Arts Center Cincinnati, USA
Half A Sky OK Center for Contemporary Art, Linz, Austria
2009 Solo Show Yvon Lambert, Paris, France
While I Sleep Le Laboratoire, Paris, France
2008 BlindStars StarsBlind Galerie Volker Diehl and BodhiBerlin, Berlin, Germany
2007 Artists Studio, London, UK
2006 Bose Pacia Gallery, New York, USA
2011 Indian Highway Muse dart contemporain de Lyon, France; Maxxi, Rome, Italy
Samtidigt Concurrent India Helsinki Art Museum, Tennis Palace, Finland;
Paris-Delhi-Bombay Centre Pompidou, Paris, France
Inner Voices 21st Century Museum of Contemporary Art, Kanazawa, Japan
To The Arts, Citizens! Serralves Museum of Contemporary Art, Porto, Portugal
2010 Contemplating the Void: Interventions in the Guggenheim Rotunda Solomon R.
Guggenheim Museum, New York, USA
2009 Younger than Jesus New Museum Triennial, New York, USA
Everyday Miracles 10th Biennale de Lyon, France
The World Is Yours Louisiana Museum of Modern Art, Humlebk, Denmark
2008 Yokohama 2008 International Triennale of Contemporary Art, Yokohama, Japan
The 7th Gwangju Biennale, Korea
Indian Highway Serpentine Gallery, London, UK
2007 The Thermocline of Art New Asian Waves ZKM Museum fr Neue Kunst,
Karlsruhe, Germany
2006 Liverpool Biennial Liverpool, UK
Zones of Contact Biennale of Sydney, Australia
2005 Indian Summer cole Nationale Suprieure des Beaux-Arts, Paris, France
Surekha nasceu em / born in Bangalore,1965
2010 Unclaimed urban f(rictions) Bangalore; 10, Chancery Lane Gallery Hong Kong
2007 Flames, Flowers and Other Images sculptures, photo and video installation
Chemould Prescott Road, Mumbai
Communing with Urban Heroines, a photo and video installation Max Mueller
Bhavan, Bangalore
2004 Bhagirathi and other video installations SKE, Bangalore

2010 Young artist Bukarest Biennale, Rumania
2009 Transmediale-09, Deep North Malmoe, Konstal & Culture Haus, Berlin, Germany
Video Finale Gallery Espace, New Delhi
Video lounge Art Summit-latitude 28, New Delhi
Gender-genesis Gallery Espace, New Delhi
KIAF Failed Plot, Korea
Regarding us Birla, Kolkata
2008 What do you want? Asian Triennale, Corner House Gallery, Manchester, UK
Inner vision The Guild Gallery, New York, USA
Trends and trivia, an Indian story Mon Art Galerie, Hong Kong Visual Arts Centre
Still moving image Devi Art Foundation, New Delhi
Public places, private spaces Minneapolis art institute, USA
Second sex 10 chancerylane, Hong Kong
Riyas Komu nasceu em / born in Thrissur,1971
2010 Subrato to Cesar Gallery Maskara, Mumbai
2009 Sakshi Art Gallery, Mumbai
2008 Bodhi Art Gallery, Berlin
Mark Him (Second half) Gallery 88, Kolkata
2007 Mark Him (First half) The Guild Art Gallery, Mumbai
2006 Systematic Citizen Palette Art Gallery, New Delhi
FAITH Accompli Sakshi Gallery, Mumbai
2005 The Third Day Lalit Kala Academy, Rabindra Bhavan, New Delhi; Sakshi
Gallery, Mumbai
Grass, photography show The Guild Art Gallery, Mumbai
2010 India Awakens Under the Banyan Tree Essl Museum,Vienna, Austria
Inaugural show Yale Universitys School of Art, New York, USA
2008 The Ghost of Souza inaugural show, Bowery space, Aicon Gallery, New York, USA
2007 Think with the Senses Feel with the Mind Art in the Present Tense, 52nd
International Art Exhibition, Venice Biennale, Italy
India Now: Contemporary Indian Art Between Continuity and Transformation
Provincia di Milano, Italy
India Time Galleria Paolo Curti/Annamaria Gambuzzi, Milan, Italy
Swarovski Museum, Innsbruck, Austria
New Wave: Contemporary Indian Art Aicon Gallery, London, UK
2006 Bronze, sculpture show Rabindra Bhavan, New Delhi
On Difference #2 (represented Korea) Wurtt. Kunstverein, Stuttgart, Germany
Strangeness Anant Art Gallery, Kolkatta
Sheba Chhachhi nasceu em / born in Harar, Ethiopia,1958
2012 Winged Pilgrims A Chronicle from Asia Volte Gallery, Mumbai
2010 Bhogi, Rogi (Consumption, Disease), interactive video intervention Public Art,
Khoj Studios, New Delhi
2009 The Space Between Gallery Paolo Curti, Annamaria Gambuzzi & Co, Milan, Italy
Winged Pilgrims & Other Creatures Walsh Gallery, Chicago, USA
2008 The Water Diviner, 48 Degrees Celsius Public Art Project, New Delhi
Winged Pilgrims: A Chronicle from Asia Bose Pacia, New York, USA
2007 Winged Pilgrims: A Chronicle from Asia Nature Morte, New Delhi
2011 Against All Odds: A Contemporary Response to the Historiography of Archiving,
Collecting, and Museums in India Lalit Kala Akademy, New Delhi
Concurrent India Helsinki Art Museum, Tennis Palace, Finland
2010 Urban Manners 2 SESC Pompeia, So Paulo, Brazil
Where Three Dreams Cross Whitechapel Gallery, London, UK
Foto Museum Winterthur, Switzerland
2009 Against Exclusion 3rd Moscow Biennale, Russian Federation
Viewpoints and Viewing points National Museum of Contemporary Art,
Taipei, Taiwan
Narratives from the 21st C, between memory and History Casa Asia, Madrid &
Barcelona, Spain
2008 The Audience & the Eavesdropper Phillips de Pury, London, UK
Landscape As Dream Alain Gaillard, Studio Citt, Paris, France
Neti Neti Bose Pacia, New York, USA
Clik! Contemporary Photography from India Vadhera Art Gallery, New Delhi;
London, UK
Where in the world & Still Moving Image Devi Art Foundation, New Delhi
Thukral & Tagra
Jiten Thukral nasceu em / born in Jalandhar,1976; Sumir Tagra nasceu em / born in New Delhi,1979
2011 Put It On, Again! Nature Morte, New Delhi
Solo Show Btap Gallery and Tokyo Art Fair, Japan
2010 Middle Class Dreams Arario Gallery, Seoul, Korea
Solo Show Ullens Center for Contemporary Art, Beijing, China
2009 Nouveau Riche Nature Morte, Berlin, Germany
Thukral & Tagra, 315 Sector 23, Opp Bosedk Mall Gallery Barry Keldoulis,
Sydney, Australia
2008 New Improved Bosedk Gallery Chatterjee and Lal, Mumbai
Somnium Genero 02 Gallery Barry Keldoulis, Sydney, Australia
2007 Put it On Bose Pacia, New York, USA
Everyday Bosedk Nature Morte, New Delhi
2006 Vector Classics Jehangir Nicholson Gallery, NCPA, Mumbai; Alliance
Francaise, New Delhi
2005 Iconography Nature Morte, New Delhi
2011 Lyon Biennale Lyon, France
Maximum India Kennedy Center, Washington, DC, USA
Concurrent India Helsinki Art Museum, Tennis Palace, Finland
Indian Highway IV Lyon Museum of Contemporary Art, France
2010 Finding India Museum of Contemporary Art, Taipei, Taiwan
Samdigit Gallery 5, Kulturhuset, Stockholm, Sweden
Urban Matters 2 SESC Pompeia, So Paulo, Brazil
2009 Chalo! India: A New Era of Indian Art National Museum of Contemporary Art,
Seoul Essl Museum, Vienna, Austria
Escape for the Dream Land Asia Pacific Triennial of Contemporary Arts 06,
Australia
2008 The Audience & the Eavesdropper Philips de Pury, London, UK,
and New York, USA
Imaginery Realities Max Wigram Gallery, London, UK
2007 Animamix Biennial The Museum of Contemporary Art, Shanghai, China
New Delhi New Wave Marella Gallery, Milan, Italy
T.V. Santhosh nasceu em / born in Kerala,1968
2011 The Land Nature Morte, Berlin, Germany
2010 Burning Flags Aicon Gallery, London, UK
2009 Blood and Spit Jack Shainman Gallery, New York, USA
Living with a Wound Grosvenor Vadehra, London, UK
2008 A Room To Pray Avanthay Contemporary, Zurich, Switzerland
Countdown Nature Morte, New Delhi
2006 Scars of An Ancient Error Singapore Art Fair, presented by the Guild Art
Gallery, Mumbai
2005 False Promises Grosvenor Gallery, London, UK
2011 Indian Rainbow Luce Gallery, Turin, Italy
2010 The Empire Strikes Back: Indian Art Today The Saatchi Gallery, London, UK
Inside India Palazzo Saluzzo Paesana, Turin, Italy
2009 Threshold: Forging Narratives in South Asian Contemporary Art Aicon Gallery,
New York, USA
Collision Course, GSK Contemporary: Part 2 Royal Academy of Art, UK
2007 After Shock: Conflict, Violence and Resolution in Contemporary India
Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, UK
2006 Here And Now: Young Voices From India Grosvenor Vadehra, London, UK
Lekha and Anupam Poddar Collection The Chrysler Museum, Germany
122 123
Vishal K. Dar nasceu em / born in Digboi,1976
2009 Navgunjar British Council, Delhi
2008 Ekant The Stainless Gallery, Delhi
2009 India Dialogue Museum Gabarron, Spain
Satyagraha Casa de la India, Spain
Relative Visa Bodhi Space, Mumbai
Vistaar 2 The Stainless Gallery, Delhi
2008 Video Wednesdays Gallery Espace, Delhi
2007 BROW Nation Experimental Art Gallery, Delhi
2006 Digressing Domain Rabindre Bhavan, Delhi
2005 Dot-matrix Apeejay Media Gallery, Delhi
Imagining materiality Visual Arts Gallery, Delhi
2004 Along the x-axis Apeejay Media Gallery, Delhi
Vivan Sundara nasceu em / born in Simla,1943
2008 Trash Chemould Prescott Road, Mumbai; Project 88, Mumbai; Photoink, New
Delhi; Sepia International, New York; Walsh Gallery, Chicago, USA
2006 Bad Drawings for Dost Gallery Chemould, Mumbai
Re-take of Amrita Sepia International, New York, USA
2005 living.it.out.in.delhi Rabindra Bhavan, New Delhi
2008 Archive Fever: Uses of the Document in Contemporary Art International Center
of Photography, New York, USA
Revolutions: Forms that Turn Biennale of Sydney, Australia
Santhal Family: Positions around an Indian Sculpture Museum van
Hedendaags Kunst (MuKHA), Antwerp, Belgium
Still Moving Image Devi Art Foundation, Gurgaon
2007 Amrita Sher-Gil Tate Modern, London, UK
Thermociline: New Asian Waves in Contemporary Asia ZKM, Karlsruhe, Germany
New Narratives: Contemporary Art from India Chicago Cultural Center, USA
Urban Manners: 15 Contemporary Artists from India Art for the World, Hangar
Bicocca, Milan, Italy
Horn Please: Narratives in Contemporary Indian Art Kunst Museum, Bern,
Switzerland
Inaugural exhibition The Berardo Museum of Modern and Contemporary Art,
Centro Cultural de Belm, Lisbon, Portugal
2006 Amrita Sher-Gil: An Indian Artists Family in the 20th Century Haus der Kunst,
Munich, Germany
Dirty Yoga 2006 Taipei Biennale, Taiwan
Edge of Desire: Recent Art in India Museum of Contemporary Art (Marco),
Monterrey; National Gallery of Modern Art, New Delhi; National Gallery of
Modern Art, Mumbai
Edge of Desire: Recent Art in India Asia Society & Queens Museum of Art,
New York, USA; Tamayo Museum, Mexico City, Mexico
Vivek Vilasini nasceu em / born in Trishur,1964
2007 Between One Shore and Several Others Sumukha Gallery, Bangalore; Visual
Arts Gallery, India Habitat Center, New Delhi
2008 Who Knew Mr. Gandhi? Aicon Gallery, London, UK
2007 Kashi 10 light years Kochi
Saptarishi: Encounter with steel The Stainless Gallery, Delhi
India: Public Places, Private Spaces Contemporary Photography and Video Art,
Newark Museum, New Jersey, USA
Soulflower Gallery, Bangkok, Thailand
Gallery Kolkatta, Kolkata
Srishti Gallery, Hyderabad
Panchatantra Kashi Art Gallery, Kochi
Arts for Peace Hera Art Gallery, Rhode Island, USA
2006 Rock Himanshu Desai Gallery Art Resource Trust, Mumbai
A Compensation for What Has been Lost Travancore House, New Delhi
Waging Peace Hera Art Gallery, Rhode Island
Satyagraha: Indian and South African Artists New Delhi & Dublin
Eternal Recurrence New Delhi
Double Enders Mumbai, Delhi, Bangalore and Kochi
124 125
Bibliografia
Bibliography
CCHANDRASEKHAR, Indira; SEEL, Peter C. (Ed.) Body city: siting contemporary culture in India.
Berlin: Haus der Kulturen der Welt; New Delhi: Tulika books, 2003.
HORN PLEASE: narratives in Contemporary Indian Art. Bern: Kunstmuseum Bern;
Hatje Cantz, 2007.
INDIAN HIGHWAY. London: Serpentine Gallery, Koenig Books, 2009.
INDIAN SUMMER. Paris: cole Nationale Suprieure des Beaux-Arts, 2005.
JANTJES, Gavin (Ed.) The tree from the seed: contemporary art from India. Hvikodden: Henie
Onstad Kunstsenter, 2003.
LEE, Yong Woo (Ed.) Emerging Asian artists. Gwangju: Gwangju Biennale Press, 2010.
MERALI, Shaheen (Ed.) Cultura popular india y ms all: cismas (emergentes) jams
contados. Madrid: Sala Alcal 31, 2009.
MERALI, Shaheen (Ed.) Re-Imaging Asia: a thousand years of separation. Berlin: Haus der
Kulturen der Welt; Beirut: Saqi Books, 2008.
PALAZZOLI, Daniela (Ed.) India oggi: larte contemporanea indiana fra continuit e
trasformazione. Milano: Spazio Oberdan, 2008.
PARIS-DELHI-BOMBAY. Paris: Centre Pompidou, 2011.
SEID, Betty (Ed.) New narratives: contemporary art from India. Chicago: Chicago Cultural Center;
Ahmedabad: Mapin Publishing, 2007.
126 127
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Art Unlimited
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Pieter Tjabbes
Arte Contempornea / Contemporary Art
Tereza de Arruda
Narrao de Histrias / Storytelling
Dadi Pudumjee
Fotografias Alkazi Foundation / Photographs Alkazi Foundation
Rahaab Allana
Consultoria / Consulting
Fausto Godoy
Editora / Editor
Flavia Galli Tatsch
Design grfico / Graphic design
Comunicao visual / Visual communication
Marina Ayra
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Textos / Texts
Cibele Aldrovandi
Deepak Ananth
Flavia Galli Tatsch
Kapila Vatsyayan
Laura Cury
Rahaab Allana
Tereza de Arruda
Abhilasha Joshi Consulate General of India, So Paulo
Aditi Mangaldas
Alkazi Foundation for the Arts, Delhi
Ambassador of India B. S. Prakash
Ashdeen Lilaowala
Brij Bhasin
Carina Fernandes e / and Ananda Jyothi
Consulado Geral da ndia, So Paulo
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Embaixada do Brasil na ndia
Embaixador Marco Antonio Diniz Brando
Embaixador Gilberto Fonseca Guimares de Moura
Fondation Raghubir Singh, Paris
Geeta Chandran
Gnter Heil
IGNCA Indira Gandhi National Centre for the Arts, Delhi
(Prof Molly Kaushal; Ms Sreekala Sivasankaran; Mr Dr. S. Simon John)
Instituto Ricardo Brennand, Recife
Johannes Beltz
Jyotindra Jain
Klaas Ruitenbeek
Laila Tyabji, Dastkar, Delhi
Leela Samson
Lena Tosta e / and Olivier Bols
Luiz Rodrigues de Jesus
Mamede Mustafa Jarouche
Maria Clara de Abreu Rada e / and
Francisco Carlos Ramalho de Carvalho Chagas
Museu Histrico Nacional Ibram/MinC, Rio de Janeiro
Museum fr Asiatische Kunst, Staatliche Museen
zu Berlin (Rafael Gadebusch)
Museum Rietberg, Zrich
Natanakairali, Research Training and Performing Centre for
Traditional Arts Irinjalakuda, Kerala
National Museum of Ethnology, Leiden
Neeraj Sahai
Nir Gershony e / and Lucia Gershony
O. P. Jain
Produo executiva / Executive production
Erika Uehara
Karen Garcia
Coordenao de produo / Production coordination
Hiro Kai
Mauro Amorim
Equipe de produo / Production team
Jade Medeiros Tavares
Karen Halley
Larissa Ferreira
Mariana Baccarin
Marina Ayra
Patrcia Magalhes
Renato Musa
Rose Teixeira
Sonia Leme
Fotografias / Photographs
Anay Mann
Guilherme Isnard
Gnter Heil
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Paulo Jabur
Tratamento de imagens / Image editing
Motivo
Reviso / Revision
Armando Olivetti
Traduo / Translation
Armando Olivetti
Izabel Murat Burbridge
John Norman
Parzor The Unesco Parsi-Zoroastrian Project
Raffael Gadebusch
Raghu Rai Foundation for Art and Photography, Delhi
Rede Globo
Ruchira Ghose
Sangeet Natak Akademi, Delhi
(Chairperson Ms Leela Samson; Secretary Mr Jayant Kastuar)
Sunil Dogra
The Alkazi Collection of Photography
The Ishara Puppet Theatre Trust, Delhi
Tyler Investment Enterprises
Usha Malik
Vadehra Art Gallery
ndia Lado a Lado / India Side by Side
Christina Pannos, Walsh Gallery, Chicago
Deepak Ananth, Paris
Deepanjana Klein, Christies, New York
Gallery Sumukha, Bangalore
Geeta Mehra, Sakshi Gallery, Mumbai
Hugo Weihe, Christies, New York
Julie Deffrenne, Gallery Lelong, Paris
Julie Walsh, Walsh Gallery, Chicago
Kanika Anand, Gallery Space, New Delhi
Nina Miall, Haunch of Venison, London
Patrice Cotensin, Gallery Lelong, Paris
Peter Nagy, Gallery Nature Morte, New Delhi/Berlin
Renu Modi, Gallery Espace, New Delhi
Shalini Sawhney, The Guild, Mumbai
Shireen Gandhy, Chemould Prescott Road, Mumbai
Sunitha Kumar Emmart, Galleryske, Bangalore
Tom Hunt, Haunch of Venison, London
Yamine Mehta, Christies, London
Credits Acknowledgements
SIDE BY SIDE
LADO A LADO
128
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