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Bani Abidi: ‘What you see in my films is what I know’ Ocula Conversation Bani Abidi: ‘What you see in my films is what I know’

A group of voices accompanies me in the exhibition. They are singing words I cannot comprehend, yet the warm tunes are familiar: folk songs, love songs, songs of longing. There are letters, too. They speak of the quotidian details of a soldier's life: the hardness of the war, sending money to the family, and longing for familiar landscapes, food,...

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Aichi to Okayama: Art in Japan Looks to the Future 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...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

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...

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Mithu Sen

India

Intimating her attraction to issues of femininity, interiority, and eroticism, Mithu Sen has drawn sexuality from living and inanimate objects with both sensitivity and political acumen during the first decade of her artistic career. Born in Bengal and educated at Santiniketan and the Glasgow School of Art, Sen has engaged drawing, sculpture, collage, and installation to flesh out thoughts interlaced with delicate, critical wit.

Following solo exhibitions "Can We Really Look Beyond the Map" (New Delhi, 2000) and "Unbelongings" (Glasgow, 2001), Sen's breakthrough statement, the exhibition "I Hate Pink," took place in Bombay in 2003. Critiquing the clichéd feminine and kitsch associations of the color with textured humor and subversion, Sen alternated drawings of mouths, fetuses, roses, and genitalia with everyday, found objects like hangers and chappals overlaid in bright pink silk. The eponymous work from that exhibition hung stuffed, beaded strands of silk from the ceiling, interweaving light and dark pinks with two individual tresses of black material.

As she has expanded her drawing practice into larger sculptural projects and installations, Sen has detailed trenchant social commentaries in her work. Twilight Zone, developed for a residency at Khoj in New Delhi in 2003, used floor to ceiling as a canvas to narrate in charcoal the sexual violence experienced by a rape victim. In no Star, no Land, no Word, no Commitment, executed in New York in 2004, the artist drew strands of artificial hair into abstracted shapes set along a gallery wall, transgressing the personal boundaries and expectations of cultural meaning implicit in using hair as a medium.

In Sen's "Drawing Room," held in 2006 concurrently at the British Council, New Delhi, and Gallery Chemould, Bombay, Sen presented 80 untitled, mixed media on paper works that expanded earlier themes of domesticity, interiority, femininity, and sexuality. The artist's stream of conscious association extended the traditional boundaries of figurative drawing, as spindly elongated tongues caught baited fish, bananas morphed into penises, and trees and roses bracketed rigid skeletal bones. With lines that spun beyond the edges of the paper and onto the wall, as well as a sensitive attention to the placement of works within the gallery, the room itself became part of Sen's work.

Integrating her drawings even further into a multi-dimensional sensory experience, Sen developed the site and time specific project "It's Good to Be Queen" during a two-month residency in New York in 2006. Allowing viewers to enter the space in which she was living and independently look at and touch recent mixed-media drawings, fabricated objects, and ready-made household items, the installation improvised a dialogue between host and guest contingent on this unusual, extreme hospitality.

Following a residency with UNESCO in Brazil in late 2006 in which she used a local icon to invent "Being Anastacia," Sen executed the installation Indubala and her Unbelongings for the exhibition "Making/Unmaking" in New Delhi in 2007. Pasting mixed-media collages onto photographs of herself from travels abroad, the artist imagined a multi-dimensional installation for Indubala; this fictive persona complicated conventional classifications of Sen's own identity with expressive humor and characteristic charm.

Beth Citron

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Featured Artworks

I have only one language; it is not mine by Mithu Sen contemporary artwork
Mithu SenI have only one language; it is not mine, 2014 Video installation
Thomas Erben Gallery

Recent Exhibitions

Contemporary art exhibition, Group Exhibition, To a passer-by at Galerie Krinzinger, Vienna
Closed
11 September–12 October 2019 Group Exhibition To a passer-by Galerie Krinzinger
Contemporary art exhibition, Mithu Sen, I have only one language; it is not mine at Thomas Erben Gallery, New York
Closed
12 January–16 February 2019 Mithu Sen I have only one language; it is not mine Thomas Erben Gallery, New York

In Related Press

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Cross-Cultural Exchanges Related Press Cross-Cultural Exchanges Aesthetica Magazine : 21 March 2017

The fourth edition of the Colombo Biennale, Conceiving Space, co-founded by the British gallerist Annoushka Hempel in 2009, and curated by Alnoor Mitha, a Senior Research Fellow (Asian Cultures) at the Manchester Metropolitan University, perpetuates its status as an important venue for showcasing strong voices from the Global South. Whilst the...

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India Art Fair 2017: All the Flowers Are for Everyone Related Press India Art Fair 2017: All the Flowers Are for Everyone OPEN Magazine : 10 February 2017

The India Art Fair (IAF) is usually a maze. Even with a map in hand and a purpose in mind, one can easily get lost or distracted. Often one meanders while trying to locate that elusive booth, which only leads to happy and unexpected discoveries. You might suddenly be caught unaware by a gem, while sipping tea.

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The Contemporary Canvas Related Press The Contemporary Canvas The Indian Express : 4 February 2017

From being a forum that brings artists from all over the world to one that will focus on South Asia, India Art Fair (IAF) has changed its course over the nine editions since it debuted in 2008. The transformation was obvious when the four-day event opened on February 2 at NSIC grounds in Okhla.Dominated by artwork from India, followed by...

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Critic’s Guide: New Delhi Related Press Critic’s Guide: New Delhi Frieze : 2 February 2017

Visual artist and researcher Sonia Mehra Chawla's artistic practice traverses notions of selfhood, nature, ecology and sustainability. Currently a visiting artist and researcher at M.S. Swaminathan Research Foundation India, Sonia's ongoing project Critical membrane is on show at Exhibit 320.This exhibition focuses on her artistic enquiry into the...

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