Art  Chennai
  Booth A

Baiju Parthan

K. G. Subramanyan

K. P. Reji

Ravi Agarwal

Riyas Komu 

Sudhir Patwardhan

T. V. Santhosh


March 16 - 17, 2012

  Taj Coromandel, Chennai


THE GUILD AT Art Chennai

Stall A

Art Chennai


BAIJU PARTHAN                     RIYAS KOMU


K. P. REJI                               T. V. SANTHOSH

RAVI AGARWAL                     VIDYA KAMAT



Baiju Parthan is considered to be an important new media art pioneer within the Indian contemporary art context. Baiju Parthan’s art practice revolves around information technology and its impact on perception and meaning generation. His art explores how information streams alter our perception of reality and how new categories of experience clubbed under the generic term 'virtual' reshape our cherished ideas about the world. Technology in his work is primarily used as an interactive space’, where each node is a choice that branches out into an exploration of fluid boundaries of meaning, that suggests the ever present local within the global, and the human cogency. The mediums of his works are a commingling of his training in various fields.

Baiju Parthan has an eclectic academic background. Along with degrees in Painting, Botany, Philosophy, and a Post-grad diploma in Comparative mythology, he has done studies in computer game level design at the Pratt Institute Manhattan USA. Some of his selected group shows include ‘INDIA- LADO A LADO’ curated by Tereza de Arruda, SESC  Belenzinho Sao Paula, Brazil; ‘India’, curated by Pieter Tjabbes and Tereza de Arruda, Centro Cultural Banco do Brasil in Rio de Janeiro, Brazil;  'Constructed Realities', curated by Gayatri Sinha at The Guild, Mumbai, 2010; 'Go See India', part of India-Sweden Cultural Exchange Program; presented by Emami Chisel, Kolkata at Aakriti Art Gallery, Kolkatta, Vasa Konsthal and Gallery-Scandinavia,Gothenburg; 'The Intuitive: Logic Revisted', from the Osians Collection at The World Economic Forum, Davos, Switzerland; 'Looking Glass: The Existence of Difference', Twenty Indian Contemporary Artists presented by Religare Arts Initiative, New Delhi in collaboration with American Centre, British Council, Goethe-Institut/ Max Mueller Bhavan, New Delhi; 'The 11th Hour: An Exhibition of Contemporary Art from India / Diaspora', Tang Contemporary, Beijing. Parthan’s recent new media installations include Arpeggio for Abbe Faria,- Photography Installation, Benedictine Museum, Fecamp, France; ‘Liquid memory’ new media Installation- Galerie Christian Hosp, Nassereith, Austria.His recent solo shows are 'Dislocation: Milljunction Part 2', Aicon Gallery, London; 'Milljunction: Paintings and Photo-Works by Baiju Parthan', Aicon Gallery, New York; Liquid memory + Rant - Inter-media show Vadehra Gallery New Delhi.

Born 1924

K.G. Subramanyan born in Kerala and educated in Santiniketan is a major presence on the Indian art scene. His flexibility of expression and richness of visual language evolve from the diverse materials he works with as painter, muralist, printmaker, relief-sculptor and designer. In his recent work Subramanyan uses many registers of language to slide from high seriousness to irony, celebration to subversion, descriptive rendering to lyrical evocation, fact to metaphor, and from real to surreal with the ingenuity of a consummate craftsman and the alertness of a nimble thinker. A man of multifaceted talents, Subramanyan demolished banners between artist and artisan. The artist gave the human figure a new dimension. Drawing upon the rich resources of myth, memory and tradition, Subramanyan tempers romanticism with wit and eroticism.

He has received the Kalidas Samman in 1981, the Padma Shree in 1975,  D. Litt. (Honoris Causa) from the Rabindra Bharati University, Calcutta in 1992 and became a Fellow of Kerala Lalit Kala Akademi in 1993.

K. P. REJI   

A significant facet in K.P Reji’s work is the intimate way in which his work integrates personal and the social aspects, thereby liberating meanings through disassociation and relocation from their commonsensical associations. Often political in inflection, his canvases explore the connection between psychological states of mind and socio-political behavior. He focuses on the way the nation state has set up a seemingly coherent bio political order for its own legitimacy as a sovereign power. The sites where Reji has chosen to work for the mapping of the ‘national’ and ‘modern’ in India are of course the paradigmatic sites of the family and the state, the domains of the private and the public. Reji’s works map the order of life and the ways in which the lives of various communities are imagined in it.

K.P.Reji received his M.F.A and B.F. A in painting from the M.S. University, Vadodara. He is the receipient of the Sanskriti Award for the Young Artist-2007, Sanskriti Foundation, New Delhi. K.P.Reji has participated in several major exhibitions and museum shows  including include ‘Shadow Lines’ curated by Alia Swastika (Indonesia) and Suman Gopinath (India) at Jogja Biennale, Indonesia; Tough Love, curated by Shaheen Merali,  Plataforma Revólver, Lisbon, Portugal; Snow curated by Ranjit Hoskote; Horn Please: Narratives in Contemporary Indian Art, Kunstmuseum Bern, Switzerland; Tolstoy Farm: Archive of Utopia, curated by Gayatri Sinha, New Delhi; Roots in the Air, Branches Below: Modern & Contemporary Art from India, San Jose Museum of Art, San Jose; CIGE 2009, China and SHContemporary 08’, Shanghai represented by The Guild, Mumbai; Art Asia Miami, 08, represented by The Guild Art USA Inc. His recent solo exhibitions being With a Pinch of Salt was held at Nature Morte, New Delhi in collaboration with The Guild and ‘Just Above My Head’, The Guild, Mumbai.


As the tides of globalization and privatization sweep across the world, it sometimes appears as if the labourer has been obliterated from public discourse. Thus while retrenchment, contractualisation and casualisation push workers out from the so-called formal sector to the largely non-unionized informal sector, millions languish in squalor, poverty and misery. Not only does this situation prevail in the developing world, it has also manifested itself in the developed world in the form of the underpaid and exploited 'guest worker,' many of whom are illegal immigrants.

These works are from  ‘Down and Out: Labouring under Global Capitalism’, Jan Breman, Arvind Das and Ravi Agarwal, OUP, 2000, New Delhi.

Ravi Agarwal is a photographer artist, writer, curator and environmental activist. He explores issues of urban space, ecology, capital in an interrelated ways working with photographs, video, performance, on-site installations and public art.Agarwal has participated in several international shows including Documenta XI (Kassel 2002), ‘Horn Please,’ Kunstmuseum, Bern, 2007; ‘Indian Highway’ (2009 ongoing); ‘Generation in Transition,’ National Gallery of Art, Warsaw; ‘The Eye is a Lonely Hunter, Images of Humankind,’ at Fotofestival Mannheim_ludwigshafen_Heidelberg; ‘After the Crash’ at Museo Orto Botanico, Rome; his recent solo show being ‘Of Value and Labour’, The Guild, Mumbai; ‘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.


Migration and identity play a pivotal role in Komu’s art practice. He has been associated with and has been  working with the migrant labour in Mumbai, being himself very much a part of the migration story to Mumbai. His works question the urban phenomena of migration, politics, civic society and the identity issues of the minority.

Riyas Komu graduated with Painting as his specialization and has since than extended himself to sculpture, photography and video installations. Riyas Komu was a participant in the 52nd Venice Biennale 2007 curated by Robert Storr. Other prominent museum shows include ‘Shadow Lines’ curated by Alia Swastika (Indonesia) and Suman Gopinath (India) at Jogja Biennale, Indonesia; Paris-Delhi-Bombay, Centre Pompidou, Paris;  Crossroads India Escalate, Prague Biennale5; Concurrent India, Helsinki Art Museum Tennis Palace, Finland; 'India Awakens: Under the Banyan Tree', Essl Museum, Austria; Finding India, Art for the New Century, Museum of Contemporary Art, Taipei; Emerging Asian Artists, as part of Art Gwangju 2010, KDJ Convention Center, Gwangju; Indian Highway Museum  of contemporary Art, Lyon; Herning Kunstmuseum, Herning, Denmark; Milan Museum show, curated by Daniella Polizolli and 'India Contemporary', GEM, Museum of Contemporary Art, Hague; ‘India Now: Contemporary Indian Art Between Continuity and Transformation’,Provincia di Milano, Milan, Italy, 'India Xianzai: Contemporary Indian Art', Museum of Contemporary Art (MOCA), Shanghai''Modern India', organized by Institut Valencià d'Art Modern (IVAM) and Casa Asia, in collaboration with the Ministry of Culture at Valencia, Spain. His recent solo shows include 2010 'Subrata to Cesar', Gallery Maskara, Mumbai in association with The Guild Art Gallery, Mumbai and 'Safe to Light', Azad Art Gallery, Tehran.


Born in Pune, Sudhir graduated in medicine from the Armed Forces Medical College, Pune. He moved to Mumbai in 1973 after graduation and worked as a Radiologist in Thane from 1975 to 2005.

His first one person show was held by Ebrahim Alkazi’s Art Heritage in New Delhi in 1979. Since then his work has been seen regularly in exhibitions in India and abroad. A monograph on his work , written by Ranjit Hoskote, was published in 2004. This was followed in 2007 by a book on Patwardhan’s drawings. A monograph in Marathi, written by Padmakar Kulkarni was published in 2005. In 2008- 2009 Patwardhan curated an exhibition of Indian Contemporary Art ‘Vistarnari Kshitije’ / ‘Expanding Horizons’ which travelled to eight cities in Maharashtra. Patwardhan’s works are in the permanent collection of National gallery of Modern Art, New Delhi and Mumbai; Roopankar Museum, Bhopal; Jehangir Nicholson Collection, Mumbai; the Peabody Essex Museum, Salem, USA and other prominent private and public collections. The artist lives and works in Thane, near Mumbai.


T.V. Santhosh’s associations are humanist and metaphysically oriented without being detached from reality. They act as conceptualist devices intended to break down the simple binaries through which we perceive our complex and multi-layered milieu. Through this lens he examines the distortion of science and technology into vehicles of terror. T.V. Santhosh’s work deals with the overarching presence of the notion of violence in contemporary societal life. His works talk of socio-political and environmental dilemmas in a global context.

Born in Kerala, T.V. Santhosh obtained a B.F.A in painting from Santiniketan and Masters in Sculpture from MS University, Vadodara. Santhosh has had several successful shows with many international art galleries and museums. His recent sculptural installation from ‘Passage to India’ is in the Frank Cohen collection at Initial Access. Some of his prominent museum shows are INDIA- LADO A LADO curated by Tereza de Arruda, SESC  Belenzinho Sao Paula, Brazil; India, curated by Pieter Tjabbes and Tereza de Arruda, Centro Cultural Banco do  Brasil in Rio de Janeiro, Brazil; 4th Moscow Biennale of Contemporary Art Rewriting Worlds, curated by Peter Weibel; In Transition New Art from India, Surrey Museum of Art, Canada; Collectors’ Stage: Asian Contemporary Art from Private Collections, Singapore Art Museum, Singapore; Crossroads: India Escalate, Prague Biennale 5, 2011; The Silk Road, New Chinese, Indian and Middle Eastern Art from The Saatchi Gallery at Tri Postal, Lille, France; Vancouver Biennale; Dark Materials curated by David Thorp, G S K Contemporary show, at Royal Academy of Arts, London; India Xianzai, MOCA, Shanghai, China (2009); Passage to India, Part II: New Indian Art from the Frank Cohen Collection, at Initial Access, Wolverhampton, UK (2009); Aftershoc’ at Contemporary Art Norwich at Sainsbury Centre, England in 2007 and ’Continuity and Transformation’ Museum show promoted by Provincia di Milano, Italy.


Contemporary cities and urban spaces have become sites where the spectacular is staged relentlessly, saturating and overloading our senses as though to drive us into incoherence. An incoherence that helps us gloss over the disparities this excess is generating. Spectacles of violence, greed, beauty, loss, hopes and dreams are played out to entice and engulf you within the tidal wave of conspicuous consumption. In this generated excess of images, visuals and other stimuli, is there a possibility of discovering an aesthetic paradigm?  Or in pursuit of excess, has the search for meaning become a futile act?  In her recent body of works, Vidya Kamat explores the landscape of excess and the loss of coherence.


Vidya Kamat holds a degree in fine arts and a doctoral degree in Comparative Mythology.  She is associated with the University of Mumbai as an adviser and research scholar for the subject of ancient Indian myth and culture. Her art practice articulates the concern and conflict of traditional Indian society that is coming to terms with urban life. Kamat questions the role of myths and its implications in current society that has instigated intolerance and violence in modern India. Kamat’s select shows include, Palimpsests curated by Niru Ratnam, Aicon gallery New York;  Through Other Eyes: Contemporary Art from South Asia, curated by Gerard Mermoz, Herbert Art gallery & Musuem,Coventry, England; Indian Contemporary Art Palais Benedictine de Fecamp Paris, curated by Ranjit Hoskote and Supriya Banerjee; Ethics of Encounters, Contemporary art from India and Thailand, Gallery Soulflower, Bangkok, curated by Pandit Chanrochanakit and Brian Curtin; Changing Skin curated By Marta Jakimowicz; I am a Saint, New Delhi, curated by Johny ML; Intimate Lives,by Anupa Mehta.


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