The Guild presents the third iteration of The
Work of Art: Iteration in Multiples, Fragments and Reflection,
presenting a rare collection of Prints and Multiples by artists K. G.
Subramanyan, A. Balasubramaniam, M. F. Husain, A. Ramachandran, Jeram Patel,
Sakti Burman, Akbar Padamsee, Sudhir Patwardhan, Thota Vaikuntam, Gieve
Patel, Amit Ambalal, Sunil Das, Prabhakar Kolte, Baiju Parthan.
These works are from diverse portfolios and different time periods. With the
advent of computers and popularisation thereof for everyday work in mid to
Padamsee embraced new technologies’
design potential. He took to learning and playing with the new technology
and produced new graphic designs, which he called
These are dynamic, swirling abstract forms unmatched for their sheer
brilliance of colour and movement.
Some of the Prints in this exhibition are from the portfolio
Society of Visual Art and Design, Santiniketan
from the year 2003. Included from this portfolio are the works of
Gieve Patel, Sunil Das,
K. G. Subramanyan and Prabhakar Kolte.
A portfolio of 12 Prints ‘Platographs’
titled Encounters in Time,
by Sudhir Patwardhan,
were first exhibited at Kochi Muziris
These were developed from his earlier drawings, and form a great collection
of portraits; intriguing, evocative of silence, mystery and pathos.
has taken a number of same etchings and painted them in different shades of
watercolours. A. Balasubramaniam’s
early etchings of late 1990s are intensely detailed and carry ambiguous
titles like Archi elements, C. W., C. S. I.,
early etchings in monochrome are portraits of native people of Telangana.
These etchings are rare and noteworthy for their use of line and
serigraph has the warmth of a late afternoon on a winter’s day.
serigraphs were developed from the sketches he would make of the landscape
and Bhil’s of the area surrounding Udaipur. His engagement with the
landscape and the people of these villages around Udaipur has been a
etching titled Engineered Fruit
was produced at The Guild, Prints and Multiples workshop during 2005.
Look forward to welcoming you at The Guild, Alibaug
Copyright © The Guild, 2017 | All rights reserved
The Guild is delighted to announce the
publication of an Artist’s book
Oct. 12, 2013 to Aug. 17, 2015
By Ravi Agarwal
The diary was first released in original on the
occasion of Agarwal’s solo exhibition with The Guild on October
11, 2015 at Alibaug.
It has now been published by The Guild in a limited edition of
500, each signed and numbered. An additional 200 copies have
also been printed which will not be editioned.
Between October 2013 to August 2015, Ravi Agarwal spent time at
a small fishing village, near Puducherry. In association with
local fishermen, he sought to explore their cultural and
political relationship to the sea, which has been central to
them from time immemorial. . A first encounter with the sea and
its ecology, it was new grounds for Agarwal’s ongoing
exploration about questions of the politics of sustainability,
environmental inequity, and embedded cultural views through
which ideas of ‘nature’ have been formed. A diary, which was
part of the exploration, along with the camera, and an
engagement with ancient Tamil Sangam love-landscape poetry gave
rise to a set of new reflections. It put into sharp focus, the
shifting nature of the social, political and family life of this
coastal region. The diary observations come in a time when
contemporary ideas of the Anthropocene and debates around
sustainability have become important. In the context of small
fisherman and a different cultural milieu than that projected by
the classical human-non-human binary, they bring forth a set of
evocative personal observations.
beach is always busy. There is activity nearly all the time.
Early, predawn the beach comes alive as boats head out to sea.
It is still dark, and there is barely enough light to see the
silhouettes of the boats. As light strikes the sands, one can
see nets, bunched up in piles and covered with plastic
tarpaulin. On the far end of the beach are make shift thatched
huts, where the fisher-folk store nets, boat parts, anchors, and
also sleep in at night. As the day progresses, the boats start
to come in with their catch. The nets are spread out and the
fish or rubble caught in them are removed by hand. Some are
luckier than others. The fish are piled in bunches, and it is
then one sees the fisherwomen appear. They will take the fish to
the local fish market to sell them. The men stay back to clean
and if need be, to repair the nets. This activity continues for
most of the day, till early forenoon. Some larger boats come in
later in the day from their longer trips, and sometimes they
need to order in large trucks with crates filled with ice to
carry a very large haul to the market. The smaller boats however
almost always have a small bag full of catch at best, which
needs no trucks or containers to carry them. These are best
hauled by hand, like in plastic bags.
The difference in the two economies is distinct and apparent.
Economies are not necessarily democratic”
is a photographer artist, writer, curator and environmental
activist. He explores issues of urban space, ecology and capital
in an interrelated ways working with photographs, video,
performance, on-site installations and public art. Agarwal
has participated in several institutional/Museum shows
including Kochi-Muziris Biennale, 2016 curated by Sudarshan
Shetty; documenta XI (Kassel, 2002) curated by Okwui Enwezor;
Sharjah Biennial 11 (2013) curated byYuko Hasegawa ;
Zones of Contact: Propositions on the Museum, co-curated
by Vidya Shivadas, Akansha Rastogi, Deeksha Nath, Kiran
Nadar Museum of Art, Noida, 2013; The Needle on the
Gauge: The Testimonial Image in the works of Seven
Indian Artists, curated by Ranjit Hoskote, Contemporary Art
Centre of SA, Adelaide, Australia, 2012; Newtopia,
curated by Katerina Gregos, various Museum venues,
Mechelen, Belgium, 2012; Critical Mass: Contemporary Art
from India, curated by Tami Katz-Freiman and Rotem Ruff,
Tel Aviv Museum of Contemporary Art, Israel, 2012; Z.N.E!,
Examples to Follow!, curated by Adrienne Goehler,
traveling exhibition, Berlin, Mumbai, Adis Ababba, Beijing; Horn
Please, Kunstmuseum, Bern, 2007, curated by Bernhard
Fibicher and Suman Gopinath; Indian Highway 2009 ,
Serpentine Gallery, curated by Julia Peyton-Jones, Hans Ulrich
Obrist ; Generation in Transition: New Art from India,
Zacheta National Gallery of Art, Warsaw, Poland, and
Contemporary Art Centre, Vilnius, Lithuania curated by Magda
Kardasz; The Eye is a Lonely Hunter: Images of Humankind,
at Fotofestival Mannheim_ludwigshafen_Heidelberg, curated by
Katerina Gregos and Solvej Helweg Ovesen; After the Crash
at Museo Orto Botanico, Rome. His solo shows: Else all will
be still at The Guild, Alibaug, 2015; Gallery Espace, 2016;
Of Value and Labour, at The Guild, Mumbai, 2011; Flux:
Dystopia, Utopia, Heterotopia, Gallery Espace, New Delhi.
Agarwal recently co-curated a twin city public art project,
Yamuna-Elbe.Public.Art.Outreach. He writes extensively on
ecological issues, and is also founder of the leading Indian
environmental NGO Toxics Link. He is an engineer by training.
To order your copy now, please email us at firstname.lastname@example.org
Copyright © The Guild, 2016
All rights reserved