Overview
Yaadon ke girebaano ke rafu par dil ki guzar kab hoti hai
ik bakhiya udheda ek siya, yun umr basar kab hoti hai
Faiz Ahmed Faiz
यादों के ग़िरेबानों के रफू पर दिल की ग़ुज़र कब होती है
इक बख़िया उधेड़ा एक सिया, यूँ उम्र बसर कब होती है
یادوں کے گریبانوں کے رپھو پر دل کی گُزر کب ہوتی ہے
اک بکھیہ ادھیڑا ایک سیا، یوں عمر بسر کب ہوتی ہے
فیض احمد فیض
Works
Achia Anzi, Colonial Times, 2019
96 x 24 inchesAchia Anzi, Colonial Times, 2019
Variable SizeManisha Gera Baswani, Herbage, 2019
12 x 9 inchesManisha Gera Baswani, Life Breath, 2019
12 x 9 inchesManisha Gera Baswani, Pierced Comfort, 2019
12 x 9 inchesManisha Gera Baswani, Sprout, 2019
12 x 9 inchesManisha Gera Baswani, Tranquil, 2019
12 x 9 inchesManisha Gera Baswani, Unravel, 2019
12 x 9 inchesManisha Gera Baswani, Whirlpool, 2019
12 x 9 inchesPriya Ravish Mehra, Untitled, 2014
48 x 36 inchesPriya Ravish Mehra, Untitled, 2017
29 x 17 inchesPriya Ravish Mehra, Untitled, 2017
29 x 17 inchesPriya Ravish Mehra, Untitled, 2017
29 x 17 inchesPriya Ravish Mehra, Untitled, 2014
23 x 17 inchesPriya Ravish Mehra, Untitled, 2014
23 x 17 inchesPriya Ravish Mehra, Untitled, 2014
23 x 17 inchesRubaba Haider, I see my beauty in you (Rumi) III, 2016
27.5 x 22 inchesI see my beauty in you (Rumi) III, 2019
13 x 11 inchesGargi Raina, Fracture Ayeneh Kari, 2019
24 x 18 inchesRajendar Tiku, Broken oath reorganised, 2019
10 x 11 x 6 inchesRajendar Tiku, Come Spring, my ruins go green, 2019
15 x 5 x 8 inchesRajendar Tiku, Come Spring, something moves through my ruins, 2019
20 x 15 x 11 inchesRajendar Tiku, Snowflowers, 2003
12 x 14 x 14 inchesRajendar Tiku, Kin-Tsugi for a calligraph, 2019
Variable SizeYael Bartana, A Declaration, 2006
Variable SizeYael Bartana, A Declaration, 2006
Variable Size
Notes
Curatorial Note
Kintsugi is the Japanese art of repairing broken ceramic objects by enhancing the cracks in the ceramic-ware with gold embellishment. Here the gold fissure or scar becomes a testament to a difficult journey, and the marks of wear add value to the object. We find reflections of this deeper philosophy of ‘not rejecting the imperfect in various other cultural traditions including Sufi. The practice of Bakhiya, suturing the garment by the Sufi Darvesh (mendicant) symbolizes the meditative activity of not letting things fall apart. Textile traditions of Kantha, Sujani, Rafoo come from a similar philosophy of repurposing rather than discarding. It is a metaphor for embracing flaws and imperfections present in all human existence, where the fragility of life itself, becomes its strength. Through the works of these artists, the exhibition explores the resilience and tenacity of the human spirit to survive against seemingly insurmountable odds. Serving as a subtle reminder to the viewer to embrace and appreciate all aspects of life and revisit our conception of beauty/desirability, not as the absence of imperfection but rather, by recognizing those very flaws as an inextricable part of what completes us – the fingerprints of life itself.
I would like to thank the participating artists for contributing works that bestowed new interpretations of the theme and raised the level of the show. I would especially like to thank Dr B N Goswamy whose erudite knowledge of poetry enabled a choice of appropriate couplets and verses to enhance the experience.
Tunty Chauhan
Venue
Threshold Art Gallery, New Delhi
C-221, Sarvodya Enclave
New Delhi- 110017