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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Wong Ping: Hong Kong Fables Ocula Conversation Wong Ping: Hong Kong Fables

There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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NS Harsha

b. 1969, India

NS Harsha is celebrated for his paintings, site-specific installations and sculptures that navigate the tensions between the local and global, the traditional and contemporary, and the individual and collective. Drawing on a diversity of traditions including comic books and Indian miniature painting, as well as art history and pop culture, his works are recognised for their attention to detail, use of flat spaces and fine brushwork. Working through a local context, Harsha addresses shared contemporary challenges that arise from global modernisation.

Through his combination of discordant imagery and current events, Harsha questions the binaries of 'local' and 'global', and 'traditional' and 'contemporary'. For example, the two works Mooing Here and Now and Only Way is through Milking Way (both 2014) were both inspired by the artist's visits to dairy farms near his hometown of Mysore, India, and in Germany, where he observed the local farming industries' ready adaptation of modern technology. In Mooing Here, rows of figures against a blue-grey backdrop utilise technology in various ways to milk the cows, while the figures in Only Way milk solely by hand. The surprising appearance of elephants in both paintings further references a local incident in which two wild elephants killed a man and several cows in Mysore in 2011. In another painting titled Showstoppers at Cosmic Data Processing Centre (2015), rows of sari-clad women investigate the sky using telescopes. The repetitive arrangement is intermittently interrupted by other women milking cows. Like Mooing Here and Only Way, this incongruous pictorial cohabitation was also inspired by actual news; at the time, NASA had begun to employ rural workers in India to assist with data-collecting. According to the artist, such events are not merely locally specific but 'reveal today's global human condition.'

This attention to the local and global also translates into an inquiry into the individual and collective. In the installation Sky Gazers (2010), created for that year's Liverpool Biennial, a crowd of painted figures on the floor gazed up towards a mirror on the ceiling. When the audience entered the installation and looked up, they found that their reflection became a part of the faces below. On the other hand, Come Give Us a Speech (2008), a large, six-panel painting produced for the National Museum Cardiff, depicts hundreds of figures seated in an orderly manner. Directly facing the viewer, the many figures are represented with references to popular culture (Batman and Superman) and to Western art history (Duchamp holding his 'fountain'), highlighting their individuality.

In 2018, Harsha united his longstanding interests in the cosmos and consumerism in Reclaiming the inner space, a large-scale installation created for the 21st Biennale of Sydney. Spanning an entire wall of the exhibition space, the installation consisted of more than 4,000 components, including unfolded cardboard packaging overtop several mirrors. To denote the stars, Harsha splattered black paint over the cardboard, while around 900 hand-carved wooden elephants were buried between the layers of the cardboard and mirror. The work owes its conception in part to the rise of supermarkets in Mysore. In an interview with Ocula Magazine in 2018, Harsha referred to his enthralment with the supermarkets and their influx of new brands and boxes presented, a phenomenon he referred to as generating 'retinal competition'. Harsha stated he was particularly absorbed by the parallel between the dark spaces inside packaging cartons and the cosmos—the vast universe is surprisingly near us. As he says, 'we assume dark cosmos to be far away when it is just around us, in different shapes and sizes.' When the elephants rise out of this rupture in the gallery wall, their presence not only alludes to their significance in Indian culture but also to their association with the natural world, which bears the brunt of human interventions.

Harsha completed his studies in painting at Chamarajendra Academy of Visual Arts (CAVA), Mysore, and University of Baroda Faculty of Fine Arts in 1992 and 1995, respectively. One of his teachers was Nilima Sheikh, a Baroda-based artist renowned for her evocative paintings reminiscent of Indian miniature tradition. Harsha has exhibited widely, notably at Victoria Miro Gallery, London (2015); Iniva, London (2009); and Maison Hermes, Tokyo and Osaka (2008). Selected international art exhibitions include the Biennale of Sydney (2018); Moscow Biennale of Contemporary Art (2013); Yokohama Triennale (2011); the Bienal de São Paulo (2010); Liverpool Biennial (2010); Singapore Biennale (2006); and the Asia Pacific Triennial of Contemporary Art (1999). In 2017 Harsha presented Charming Journey at Mori Art Museum, Tokyo—his first mid-career retrospective, which exhibited more than 70 major works since 1995. In addition to the prestigious Artes Mundi Prize (2008), Harsha also received the DAAD residency award in 2012. The artist currently lives and works in Mysore, India.

Sherry Paik | Ocula | 2018
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Featured Artworks

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Brooding Priest! by NS Harsha contemporary artwork
NS HarshaBrooding Priest!, 2012 Watercolour and pencil on paper
21 x 29.7 cm
Victoria Miro
Missing Cook Beyond the Cosmic Twigs by NS Harsha contemporary artwork
NS HarshaMissing Cook Beyond the Cosmic Twigs, 2016 Acrylic and gold foil on canvas
190 x 150 cm
Galerie Mirchandani + Steinruecke
Time and Again Upward Movement Beautiful Beautiful by NS Harsha contemporary artwork
NS HarshaTime and Again Upward Movement Beautiful Beautiful, 2014 Acrylic and gold foil on canvas
190 x 150 cm
Victoria Miro
Surviving on blueberries from the inverted tree! by NS Harsha contemporary artwork
NS HarshaSurviving on blueberries from the inverted tree!, 2012 Watercolour and pencil on paper
21 x 29.7 cm
Victoria Miro
Mooing Here and Now by NS Harsha contemporary artwork
NS HarshaMooing Here and Now, 2014 Acrylic on canvas
190 x 150 cm
Victoria Miro
Why by NS Harsha contemporary artwork
NS HarshaWhy, 2014 Acrylic on canvas
61 x 86 cm
Victoria Miro
Only Way Is through Milking Way by NS Harsha contemporary artwork
NS HarshaOnly Way Is through Milking Way, 2014 Acrylic on canvas
190 x 150 cm
Victoria Miro

Recent Exhibitions

Contemporary art exhibition, NS Harsha, NS Harsha at Victoria Miro, London
Closed
11 April–18 May 2019 NS Harsha NS Harsha Victoria Miro, Wharf Road, London
Contemporary art exhibition, Group Exhibition curated by Hilton Als, Forces in Nature at Victoria Miro, London
Closed
13 October–14 November 2015 Group Exhibition curated by Hilton Als Forces in Nature Victoria Miro, Wharf Road, London
Contemporary art exhibition, NS Harsha, Upward Movement at Victoria Miro, London
Closed
26 March–25 April 2015 NS Harsha Upward Movement Victoria Miro, Mayfair, London

Represented By

In Ocula Magazine

NS Harsha and Tiffany Chung Ocula Conversation NS Harsha and Tiffany Chung Artists

On the occasion of the 21st Biennale of Sydney, SUPERPOSITION: Equilibrium & Engagement (16 March–11 June 2018), the Victorian College of the Arts and University of Melbourne partnered with the Biennale to facilitate the visit of artists Tiffany Chung, NS Harsha and curator David Elliott to Melbourne. The following discussion is an edited...

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In Related Press

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'Charming Journey': India’s N. S. Harsha at Mori Art Museum – artist profile Related Press 'Charming Journey': India’s N. S. Harsha at Mori Art Museum – artist profile Art Radar Journal : 9 May 2017

Charming Journey at Mori Art Museum in Tokyo marks Indian artist N. S. Harsha's first mid-career retrospective. Encompassing 75 major works made by N. S. Harsha since 1995, this retrospective explores the tensions between traditional and contemporary, individual and collective, earthy and cosmic in the artist's work. The exhibition, which also...

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The 21st Biennale of Sydney (2018) announces first 21 artists for its 45th anniversary exhibition Related Press The 21st Biennale of Sydney (2018) announces first 21 artists for its 45th anniversary exhibition 6 April 2017

The world-renowned Biennale of Sydney is back next year to celebrate its 45th anniversary exhibition. Set to maintain its status as the largest and best-attended contemporary arts event in Australia, the 21st Biennale of Sydney is anticipated to once again bring an impressive and diverse range of contemporary artists and artworks to the...

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Big impressions live in the details Related Press Big impressions live in the details The Japan Times : 6 March 2017

Distracted by the frenzy of today's hyper-connected world, many of us can easily overlook the everyday incidents that encourage smiles or offer simple affirmations of life being lived.The India-born artist N.S. Harsha, however, thrives on such observations. As his solo exhibition at the Mori Art Museum demonstrates, Harsha's work celebrates such...

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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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