Mythographer’s Log Book
Myths 1 also often have cosmogonic 5 overtones. They could be narratives of a sacred nature, often connected with some ritual within any given culture. Secular and sacred myths may co-exist and reflect a social order or values within a culture, as they are a way of understanding nature and organizing thoughts. While some see in myth the distinct character of particular cultures, others perceive, universal patterns. While some regard myth as contemporary and "alive", others think of it as ancient or dormant. The exhibition hopes to uncover various contemporary readings of mythological histories, as folklore, genre, and myth features in every culture. Hence, they are both specific and universal at the same time.
Brief Bios of the Artists
V Ramesh, Brief Bio:
Born in 1958 in Andhra Pradesh, V Ramesh lives and works in Vishakhapatnam, Andhra Pradesh, where he has been teaching at the Department of Fine Arts, Andhra University, since 1985. He holds an MFA from the Faculty of Fine Arts, Baroda. Ramesh was awarded the Sanskriti Award in 1993; Senior
Fellowship from Department of Culture, in 1995-97; Junior Fellowship from Department of Culture, in 1990-93.
His large canvases are the subject of curiosity and debate for their unique concern with the idea of faith and renunciation in contemporary times. For example, the concept of withdrawal from worldly concerns by renouncing creature comforts on the one hand and going against the conventions of devotional practice on the other, is fore grounded in all its complexity in the series Sanctum Sanctorum: A Corner for Four Sisters (2012). It explores the quest of four savants from different historical and geographic moments, whose devotional postures read like a protest against blind faith and soulless ritual.”
Selected exhibitions include Hashiya: The Margin, group show at the Bikaner House 2018, Revisiting Beauty, a group show at Threshold Art Gallery 2017, The Second Biennale of Art at Bharat Bhavan, Bhopal and the Second Biennale at Havana, Cuba. Sakshi Gallery, Mumbai, 1992; ‘Recent Trends in
Contemporary Indian Art’, Vadehra Art Gallery, 1995. Mapping Memories, Gallery Threshold New Delhi (2008). India Art Summit 2009, 2011. Revisiting Intuitive Logic, Davos -2011.
He is the first practicing artist to show solo at the NGMA, Bangalore in 2014, titled “Remembrances, of Voices Past,” followed by a solo show at the Katzen Arts Center, American University Museum in Washington DC in April–May 2015, Pundole Art Gallery 1991, Sakshi Art Gallery, “A Thousand and One Desires,” Pundole Art Gallery, Mumbai 2005, “Painted Hymns”, Gallery Threshold, 2007, “My Heart Would Be Enough,” Gallery Threshold 2008, “Why Cross the Boundary”, Gallery Threshold, New Delhi, 2011-2012. Represented by Threshold Art Gallery at the India Art Fair 2008, 2009, 2010 and 2011 and 2018. IAF 2012 Solo Booth, Sanctum Sanctorum: A Corner for Four Sisters. He was invited to give talks at Yale University and at U Conn in 2015.
Rajendar Tiku was born in Wadwan in Jammu and Kashmir, 1953. He studied Science and Law in addition to Fine Arts (Sculpture). He has received both the junior (1993–95) and senior (1997–98) fellowships of the Ministry of Human Resource Development, the Government of India; Tiku has been
practicing since 1979. He has also taught sculpture at the institute of Fine Arts, Jammu and Srinagar (J&K) and has been a visiting Professor at Musashino Art University, Tokyo. His Solos include, Womb and the Sprout at Gallery Threshold 2017, Metaphors in Matter 2008 held at Gallery Espace New Delhi, and Solo Exhibitions (1990, 1992, 1995, 1998 and 2003) held at Art Heritage, New Delhi.
Tiku’s sculpture approach is a difficult one, especially since he does not have direct, particular and recognizable references in his work. He arrives at a form that transcends its own material and dimensional limitations and attains a sufficient formal autonomy. As a result, the evolved-form generates its own space and establishes its presence which now may be called as its reality. All through these years he has tried to explore the possibilities vis-à-vis material and thought through his work.
Tiku has received National Award for Sculpture in 1993 and the 8th Triennial India (International) Award for Sculpture, 1994. He is also a recipient of a grant from the Pollock-Krasner Foundation, New York, 2005. Tiku has been invited to many sculpture workshops in places like Switzerland, Israel, Russia, Egypt,Thailand, Cambodia and Turkey. In 2013, the Government of India honored Rajendar Tiku with the fourth highest civilian award, the Padma Shri. He received Gottlieb Foundation (New York) Individual Grant for advanced work in Sculpture in 2015. Tiku has also published many articles in local magazines and journals.
Achia Anzi was born in Israel, in 1979. He did his M.F.A. and B.F.A. in Sculpture from the University of Rajasthan, in 2004-2010, Diploma in Urdu, from the National Council for Promotion of the Urdu, in 2008. He also studied M.A. in History of Art from the National Museum Institute, New Delhi, 2011 and has been living in India for the last 10 years.
Achia Anzi’s works evoke a quest for his roots from a Zionist perspective, he examines the concept of homeland and exile, etched out from his personal journey as an Israeli immigrant. His works address a sense of longing for home, born from the state of exile through acts of sleep and dreaming. He establishes a dialogue with the earth through site specific installations.
Selected shows include “Nimrod’s Descendants”, curated by Gideon Ofrat, Artist House, Jerusalem, Israel, 2011. “Peaceful be your return O’ lovely bird, from warm lands back to my window”, Threshold Art Gallery, New Delhi, 2012; “Land of Nod”, Threshold Art Gallery, New Delhi, 2014; “Silent call of the earth”, Outset India and Threshold Art Gallery, New Delhi, 2015; “Aleph and other stories”, Instituto Cervantes (New Delhi) and Threshold Art Gallery (New Delhi), 2016; solo project India Art Fair represented by Threshold Art Gallery, 2013,14,16; Yinchuan Biennale at Yinchuan China, 2016. IAF 2018 Represented by Threshold Art Gallery.
His translations from Urdu and Hindi were printed in several Hebrew newspaper and journals. Forthcoming by Hakibbutz Hameuchad Publishing House: selected short stories by Saadat Hasan Manto translated to Hebrew. The artist is an assistant professor at O.P. Jindal Global University, Sonipat.
Pandit Khairnar was born in 1968 in Nashik, Maharashtra, now known as wine country, situated on the banks of the Godavari river. The rugged yet verdant terrain had a lasting impact on Khairnar’s sensibilities and he found himself drawn towards abstract painting, even as a young man. Khairnar studied for a Diploma in Art Teaching from Y. K. M., Aurangabad in 1989. He further completed a Diploma in Fine Art from L. S. Raheja School of Art, Mumbai in 1992. After which he was based in Mumbai for the last 25 years. He returned to his hometown, Nashik, in 2013. Working from Nashik provided comfort to his artistic senses, not just because it was his hometown, but because the city has art in its air, with its temple complexes and ancient caves. Its serene beauty and peaceful environment inspire him to paint. He uses layer upon layer of oil paint to create evocations of fascinating shades of light, like silent music. Through his paintings, he describes his memories spent in idyllic fields and
attempts to recapture that point between twilight and dusk when the light changes in a few seconds and the open sky is a hue of myriad colours, intangible and mystic.
Pandit Khairnar has had solo exhibitions at Volte Gallery, Mumbai in 2012; Jehangir art gallery, Mumbai in 2011; 'The Sheltering Sky' Gallery – 7, Mumbai in 2005; Jehangir art gallery, Mumbai organized by Bombay Art gallery in 2006 and 2001; Sans Tache Art Gallery, Mumbai in 1998; First Solo Show' at Jehangir Art Gallery, Mumbai in 1996. This is his first solo exhibition in New Delhi. He was represented by Volte at India Art Fair 2016. Cosmic Balance at Threshold Art Gallery, 2018.
He has also participated in many group-shows, some of which are two-person show at Amar Gallery, London with Parul Thacker, 2017. Two-person show with Rajendra Dhavan, at Gallery -7, Mumbai in 2002 and in 2008 'Reduced to Essentials-II', two-person show with sculptor Madan Lal at Bombay Art
Gallery, Mumbai. He has been awarded by the Bombay Art Society, Mumbai in 2004 and 1992; state of Maharashtra Merit Award and LS RAHEJA School of Art Award in 1992.
Vipul Kumar, (born 1970) has studied for his Bachelors in Sculpture from B.H.U., Varanasi. in 1995 and his M.F.A. Sculpture from B.H.U., Varanasi. He is currently working as Freelance Sculptor in Bhaislana Mines, Rajasthan. Vipul Kumar’s large ceramic sculptures are inspired by nature. His piece titled Nature’s Signature underlines the threat of global warming, a looming fear because of massive deforestation. With a studio in the village, a tree-plantation drive in Rajasthan and a large-scale installation at the Mumbai airport, Kumar is known for spreading awareness about the environment. Aesthetically his works combine his knowledge as a stone carver who worked in black marble with his recent encounter with ceramics.
Important exhibitions include: The 44 th and 42 nd National Art Exhibition, New Delhi, 2001 and 2000. 38th National Exhibition of Contemporary Art, New Delhi, 1995, Exhibition of Sculptures (SUFI) At Rabindra Bhavan New Delhi, 2005, Group Exhibition of painting & Sculpture (Fusion), Vadodara, 2004, Group Exhibition of Sculpture (Sawak- 2000), Varanasi, 2000, U.P. Art Exhibition by Arya Bhasha Sanstha, Varanasi, 1997, Group Exhibition, Faculty of Visual Arts. BHU, Varanasi, 1989, Annual Art Exhibition, Faculty of Visual Arts, BHU, Varanasi, 1989-95. Solos include `Sawak' an Exhibition of Sculpture at Lalit Kala Academy, Ravindra Bhavan, New Delhi. 2003: 'Sawak' an Exhibition of Sculpture at Gallery Sukriti,
Jawahar Kala Kendra, 2003, Earth an Exhibition of Ceramic Sculpture, Gallery Espace, exhibition 2018, Solo Show, Earth Diaries, Threshold Art Gallery 2018.
He received the Junior fellowship, from the ministry of Culture, Govt. of India in 2000, National Culture Scholarship from the ministry of HRD, Govt. of India, 1996, Ahivasi award in Annual Art Exhibition, Faculty of Visual Arts, BHU, Varanasi, 1995. His works are in the collection of ABS Art Gallery, Vadodara and Lalit Kala Academy, Ravindra Bhawan, New Delhi. Adani Project in Ahmedabad and collaborative installation at the Mumbai International Airport (MIAL).
A native of Delhi, India where he studied printmaking and painting at the College of Art; Shaurya Kumar graduated with his MFA from the University of Tennessee, Knoxville in 2007. Since 2001, Kumar has been involved in numerous prestigious research projects, like “The Paintings of India” (a series of 26 documentary films on the painting tradition of India); "Handmade in India" (an encyclopedia on the handicraft traditions of India); and digital restorations of 6th century Buddhist mural paintings from the caves of Ajanta.
Kumar's work has exhibited widely across the US and in countries including India, Taiwan, China, Poland, South Korea, Taiwan, Thailand, Belgium, Bulgaria, Italy, U.K., Norway, France, Australia and Finland among many others. His works have been installed at venues including the Dr. Bhau Daji Lad Museum (formerly Victoria & Albert Museum, Mumbai); Gallery Odyssey, Mumbai; UNM Art Museum, Albuquerque; SCA Contemporary, Albuquerque; Queens Museum, NYC; Seoul Museum of Art, Seoul; Lakeeren Gallery, Mumbai; Artifact Gallery, NYC; LACDA, Los Angeles, CA; Museum of Fine Arts, Georgia; Schneider Museum of Art, Oregon; Charleston Heights Art Center, Las Vegas; TamTam Gallery, Taiwan; Guanlan Printmaking Base, China; NIU Art Museum, Illinois and Kriti Gallery, Varanasi among many others. Kumar’s work has also featured in international art fairs including India Art Fair, Dubai Art Fair and Poznan Art Week.
Shaurya Kumar currently lives and works in Chicago, IL and is an Associate Professor at the School of the Art Institute of Chicago.
Anindita Bhattacharya (born 1985) received both her B.V.A and M.V.A in Painting from Faculty of Fine Art, M. S. University of Baroda in 2006 and 2009 respectively. Anindita had shown an early interest in the linguistic tropes of Mughal and by extension Persian miniatures even in her formative years as an artist. Over the years her fascination with ornamentation and patterns were conflated with a deep sense of search for identity that was syncretic as a response to the right wing political mobilisation and monolithic cultural constructs about the idea of India.
Her work has been part of several curated shows including Verdant Memory, 2017 Threshold Art Gallery, Revisiting Beauty Threshold Art Gallery 2016 New Delhi, Restart & The Unbearable Closeness of Being at Vis-à-vis, New Delhi (2015), Back To College: Vadfest, Vadodara (2015), Integrated Inception: Art Konsult ,New Delhi (2013), Articulate 2012: Saffron art and Pratham UK, London, Future of The Museum Collection III: India Habitat Centre, New Delhi (2011), Contemporary Shahnamah Millennium Painting Exhibition: National College of Arts, Lahore.
Contemporary Shahnamah Millennium Painting Exhibition: The Prince’s Foundation Gallery, London (2010), Whole: Gallery Indigo Blue: Singapore (2010), Drifters: Gallery Beyond, Mumbai (2010). She has attended a workshop in Mughal and Persian Miniature painting in London, 2017.
She has been a recipient of awards like “Lt Milind Madhukar Bhade” Gold Medal (2009), “Narendra Gajanan Bhatt” Gold Medal awarded by Maharaja Sayajirao University Baroda (2009), Nasreen Mohamadi Award for the Best Display, for the year 2006 and 2009 respectively, Rajasthan Lalitkala Akademi Award for the year 2005 & 2009. Anindita Bhattacharya currently lives and works in New Delhi.