Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
If you wish to be notified when this gallery features again in an Ocula art fair partnership please follow the gallery.
If you are from Exhibit 320 and wish to apply to become an Ocula member gallery please visit: ocula.com/membership.
MAIN BOOTH B7
Vibha Galhotra is a New Delhi based conceptual artist whose large-scale sculptures address the shifting topography of the world under the impact of globalization and growth. She sees herself as being part of the restructuring of culture, society and geography – of New Delhi, and the world. Responding to the rapid environmental changes and re-zoning of land, Galhotra embodies the dense urbanization and jungles of steel and concrete through intricately sewn metal ghungroo tapestries – fusing historical grandeur with shimmering veils of steel.
Vibha Galhotra's recent shows include a solo show absur-city-pity-dity at Jack Shainman, New York 2015; Kemper Museum of Contemporary Art, Missouri 2015; Winter in America, The School, New York 2015; Walk for the Planet, San Giovanni Valdarno, Italy 2015; Citizens of Time, Dhaka Art Summit 2014; Nagaland India/Becoming, Colombo Biennale, Sri Lanka; 2014; pIECE BY pIECE, Metrotopia, Southeastern Center for contemporary Art, NC 2012.
Her works have been recently acquired by Bill & Melinda gates foundation, The Falcon (Atlanta Football Club) USA, The Hurliman Collection, Zurich.
YASMIN JAHAN NUPUR
Yasmin Jahan Nupur’s practice locates her own personal histories within broader socio-political and environmental conversations. In Jahan Nupur’s drawings and installation each image functions as a trace, constructing a pictorial vocabulary for the immaterial act of ‘remembering’. Yasmin Jahan Nupur was part of The Performance Pavilion, curated by Nikhil Chopra, Madhavi Gore and Jana Prepeluh at the Dhaka Art Summit 2016. Jahan Nupur has won an Award at the 15th Asian Art Biennale, Bangladesh 2013; 55th Venice Biennale, The National Pavilion of Bangladesh, Venice, 2013; 13th Asian Art Biennale, Bangladesh Shilpokala Academy, Dhaka, 2013; Britto Space, Britto Arts Trust, 2012. She lives and works in Dhaka.
K. Pushpakumara develops a language with a self-invoked iconography located specifically within the civil war his homeland witnessed between 1983-2009. His use of the barbed wire, razors and 2 x 2 poles as well as tarpaulins in his large-scale paintings is in a similar vein to artists such as Norman Lewis – a way to confront the potency of a (post) conflict space down to its basic vocabulary out of the need to ensure narratives are not erased or rendered invisible.
K Pushpakumara graduated from the MA (Art History) from the institute of Archeology, University of Kelaniya, Sri Lanka. He is a founding member of the Theertha International artist collective and has exhibited at the Dhaka Art Summit as well as the Colombo Art Biennale.
Kumaresan Selvaraj’s sculptures in wood, cement, paint and paper gently erupt and await to overflow from within its surface as a poignant calling to our inner existential conundrums. In his series of sculptures Selvaraj employs an aesthetic of spillage. Something from within is always making its way out. In the objects gentle unraveling of itself we are left with question. Selvaraj defamiliarises it for the viewer.
Kumaresan Selvaraj graduated from Madras University, Government College of Arts. His recent shows include Material Ruptures, Exhibit 320; False Alternatives, Park Hyatt; Tracing New Horizons, Lalit Kala Akademi; Chronicle, Jehangir Art Gallery; Select essays and articles includes Visible Invisible, Ashrafi Bhagat and On The Darkest Night I can see light, Deeksha Nath. Selvaraj lives and works in Chennai.
Sunoj D’s art practice looks at the natural, geographic and social environments within the context of his personal history and the manner in which he has always connected with land. His attempt is to apply various ideas and emotions behind agricultural activities to explore the relationships forged between human beings and nature.
Sunoj D studied at Bangalore University and has participated in the Kochi Muziris Biennale, 2014, (A.i.R) Dubai Residence in partnership with Delfina Foundation, DCAA and Tashkeel, 2014 and Art Dubai Projects recently. He is a founding member of Forager, a collective based out of Bangalore, focusing on conversations around the geo-politics of food.
UBIK’s practice is concerned with the deliberation of texts, images, objects and environments. His work often oscillates between various spheres of the art making process. UBIK observes the possibility of constructing a narrative wherein the aesthetics bear resemblance to situations whose occurrences are mostly rooted within societal matters that concern our contemporary existence. He lives and works in New Delhi, India.
UBIK has had solo exhibitions in Delhi (Exhibit 320) as well as in Madrid (Sabrina Amrani) and Dubai (Traffic). He was a part of the Biennale Jogja XII Equator #2 2013 and the Kochi Muzuris Biennale 2012. He was recently selected as a 2017 resident in the TIFA Working Studios ARTEL in Pune.
FOCUS BOOTH A11
Sumakshi Singh’s layered installations constantly traverse the lines between metaphor, reality and Illusion and ranges from plays on space-time theories to cultural, historic and physical critiques of place, done in paintings, drawings and interactive installations. In her recent projects Singh is involved in drawing out, assembling and even weaving illusions of a perceived space, object or another time on top of the pre-existing objects and architecture of a chosen space, until from one vantage point the actual space is completely obliterated by the perceived.
Sumakshi Singh’s interactive installations, paintings, drawings and sculptures have been presented in solo and curated museum exhibitions including Kochi Biennale, Whorled Explorations 2014; 12th Biennale de Lyon, Meanwhile Suddenly and Then 2013; Museum of Contemporary Art, Lyon, France; MAXXI Museum, Rome, Italy; UCCA, Beijing, China; Mattress Factory Museum of Contemporary Art, Pittsburgh, PA; Museum of Contemporary Art, Chicago, IL; Illinois State Museum, IL; ArtHouse Texas, TX. She was also awarded a Zegna Grant in 2009 and a finalist for the Rijksakademie in 2006 & Rolex Mentor Protege Award 2014.
PROJECT BOOTH P9
Hemant Sreekumar is an artist and a technologist based in New Delhi. Artistically he performs synthetic audio compositions using principles of emergence and noise. He also produces visual media including prints and light based works. His works respond to notions of decay, generative bias and loss of semantics. He employs code and data mediated processes to construct time-based enviornments with fluctuating textures. Hemnat Sk also curates Disquiet, a sound/noise program since 2013.
Parul Gupta works around the subject of architectural spaces by countering the question of perception, of how a particular place/space informs the way we see. How a spatial intervention changes our perception of each individual space, as well our perception of ourselves in that space. For Gupta, drawing reflects a series of concerns prompted by repetitive action both fueled by internal (somatic & psychic) and external (drawing & environment) phenomena simultaneously. While making repetitive patterns using the line as form, the artist engages her mind and body as a machine - moving in a methodical, rhythmical motion- mind in a confined space, while the body aided by two tools (pen & ruler) that while making the straight line endures the pain, heightened by the awareness of the self, the surface and the activity.
Parul Gupta’s recent shows include Lets Proceed in Parts, Instituto Cervantes, New Delhi 2016; Phenomenology of Perception, Exhibit 320 2015; Spaces Phrases, Lakeeren, 2014; Drawing Proposal, INSERT 2014; Group Show, Peers Share, Khoj International Artist Association, 2013; Site Specific Install, Lateral, KONA Alternative Space, 2013.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.