I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
KEWENIG is pleased to present As far as the Forest is, a group show that brings together Astha Butail, Sudarshan Shetty and Sunil Padwal for the first time in the Oratori de Sant Feliu in Palma de Mallorca with a selection of their most recent works. At first glance these three artists could not seem more different. But Butail’s minimalistic arrangements, Padwal’s assemblages of found frames and Shetty’s pieced together vases all share a very delicate and meaningful use of material–being it paper, wood, cloth, ceramic or stone. This exhibition is an open invitation to these three artists to make the Oratori their temporary home by bringing elements of their own tradition, aesthetic and history to the island.
Astha Butail works in an array of media such as drawing, assemblage, interactive installation, sculpture and performance. Her art is characterised by her unique approach towards materials. Fascinated by the oral passing of knowledge, Butail has been researching memory and living traditions passed on to generations through the teaching of chants, oral poetry and storytelling. In a one-year multidisciplinary research around the world, she combined aspects of ethnography, spirituality and sociology, traveling extensively to observe and record different memory techniques. This enabled her to draw connections between the Zoroastrian Avesta, the living oral history of Iran, the Jewish Oral Torah, and the Indian oral tradition of Rig Veda, like the inclusion of water prayers and rituals. Most of these diverse traditions use copper vessels to store water, hence Butail’s use of this material, e.g. in the form of copper pipes, such as in A circular relationship (2019).
In oral traditions, knowledge is often memorised and transferred using mathematical patterns, which are translated in Butail’s work through geometry and the relation between composite elements to the whole they form part of. Butail has examined the notion of book in interactive installations and its geometry as well as blank book pages are an integral part of her visual vocabulary. As in many of her works, the title of The book of Night (2019) references a hymn in one of the books of the Rig Veda.
Sudarshan Shetty has made a name for himself with his bewildering sculptural installations and multi-media works. The choice of materials and their inherent qualities is crucial to Shetty’s artistic process. In his 2018 series of untitled vases he substitutes missing parts of broken Chinese ceramics with pieces of teak wood. This wood typical of India is collected by the artist on markets and mostly stems from torn down houses in Mumbai. Thus, these works silently continue to carry the stories that these buildings witnessed. Through the juxtaposition of natural and artificial materials, Shetty explores ideas of real and fake, old and new, function and meaning. In his recent wall work As far as the Forest is (2019) he complements the missing horns of wooden trophies of Indian cattle with transparent acrylic, as if to return lost honour to India’s holy animal, whose protection has become a political issue in the country.
In his multifaceted approach, Sunil Padwal focuses on life conditions in one of today’s most densely populated cities. Using objects found in his surroundings and assembling various materials–abandoned in the rush of modernity–Padwal blurs the borders between different media. The result translates into overlapping themes and non-linear narratives that correspond to the operating principle of our memory. In his recent series 'Lining an archive' (2019) Padwal places drawings on archival envelops or on collaged pages torn from books into antique frames. Through his choice of motives, he seems to withdraw into the secured space inside private homes to which the table lamps, armchairs, and family photos allude. Like grass blades making their way through the cracks in a city’s pavement, these are unremarkable, easily overseen objects of daily life. Staged by the artist as representations of bygone eras and past urban lives, they can also function as the viewers’ vehicles to connect to their own personal memories. Like this, the found materials and impressions from restless megacities lead into an inner journey of each individual.
Astha Butail (b. 1977 in Amritsar, India) lives and works in Gurgaon, India. In 2009, after having obtained degrees in economics and fashion, she developed strong interest in Sanskrit, the language of the Rig Veda which she pursued a Master’s degree in. Her work has been recently on view with solo exhibitions at The Gujral Foundation, New Delhi (2019), and GALLERYSKE, Bangalore (2016 and 2014). She was also part of exhibitions at Exhibit 320, New Delhi (2017); Experimenter, Kolkata (2016), the Devi Art Foundation, New Delhi (2015), the Watson Institute of Brown University, Providence, Rhode Island (2015), amongst others. She has exhibited at Devi Art Foundation’s Sarai Reader (2013) and Masquelibros Artists Book Fair, Madrid (2013). In 2017, Butail won the BMW Art Journey Award.
Sudarshan Shetty’s (b. 1961 in Mangalore, India) lives and works in Mumbai. His work has been widely exhibited in India and become increasingly visible worldwide, for example at the Dr. Bhau Daji Lad Museum, Mumbai (2017), the Rolls-Royce Art Programme, Maker Maxity, Mumbai (2016), the National Gallery of Modern Art, New Delhi (2016), and GALLERYSKE, Bangalore and New Delhi (2014 and 2015). Shetty’s work has featured in major group exhibitions including the Palestinian Museum (2017), the Yinchuan Biennale, Museum of contemporary Art, Yinchuan (2016), the 20th Biennale of Sydney, Sydney (2016), at the Staatliches Museum Schwerin, Schwerin (2015), the Kochi-Muziris Biennale (2012), the Centre Pompidou, Paris (2011), and the Solomon R. Guggenheim Museum, New York (2010). In 2012, Shetty unveiled The Flying Bus, a public art work at Maker Maxity, Mumbai. In 2016, Shetty was curator of the Kochi-Muziris Biennale.
Sunil Padwal was born in 1968 in Mumbai, India, where he lives and works. Recent solo exhibitions of the artist were hosted at GALLERYSKE, New Delhi (2019 and 2015), The Arts House–The Old Parliament, Singapore (2014), Veranda 8 at Space 1857, Chicago (2012), Gallery BMB, Mumbai (2011), Jehangir Art Gallery, Mumbai (2008), and Vadehra Art Gallery, New Delhi (2007). His work featured in the Kochi-Muziris Biennale, curated by Sudarshan Shetty in 2016–2017. Padwal received his BFA from the J.J. Institute of Applied Art, Mumbai.
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