Ocula Conversation Hito Steyerl: How To Build a Sustainable Art World 'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
Ocula Report Aichi to Okayama: Art in Japan Looks to the Future 11 Oct 2019 : Stephanie Bailey for Ocula There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Ocula Insight | Video 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...
KEWENIG and GALLERYSKE are delighted to present Room #9 with two recent installations by Indian artist Sudarshan Shetty. The presentation is part of KEWENIG’s exhibition format 12 Rooms, a monthly rotating artist programme in the enclosed room between the gallery and the adjacent building.
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.
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.
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