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Rubbed Carpet, mixed media on paper Image Copyright: G. R. Iranna
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And the last
shall be the fisrt: G. R. Iranna works 1995-2015
Curated by Ranjit
Hoskote at |
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National Gallery of Modern Art, Bengaluru and The Guild Art Gallery are proud to present a selection of G R Iranna’s works from two decades of his oeuvre, in And the last shall be the first: G. R. Iranna Works 1995-2015, a solo exhibition at NGMA Bengaluru curated by poet, cultural theorist and curator, Ranjit Hoskote. The opening takes place on Saturday, 16 January 2016, at 6 pm. The exhibition will be on view until 16 February 2016.
“A museum-level exhibition such as the present one enables us to survey and
contextualise the activity of an artist, as it were, in mid-passage. Our
attempt, here, has been to bring together a variety of works that attest to
Iranna’s production since his earliest foray into the Indian art world, and
spanning his increasing range and contribution to the scene. A vital subtext
of the exhibition is Iranna’s journey, both literally and in figurative
terms, from his points of anchorage and inspiration during his upbringing
and early student years in Karnataka, to the further unfolding of his
sensibility as a Delhi-based artist working in the context of global
contemporary art.” – Ranjit Hoskote Iranna’s body of work is connected by an underlying thread of reflection and thematic emphasis: it engages with specific social and political questions of equity, livelihood, the environment, and the place of the individual in a turbulent society. And yet it does so through means that are poetic and philosophical. In his recent work, God and Guns (Witness) the physicality of a carpet, a beautiful object associated with daily use, becomes symptomatic of the metaphysical aspects of suffering and resilience, with the carpet becoming a witness to experience, an object marked by shifts in time, space and human action. Its wear and tear stands testimony to all human actions, whether it is prayer or violence. “While reflecting on a twenty-year period in the oeuvre of G. R. Iranna (born 1970), I find myself marvelling at the variety of creative displacements to which he has subjected himself: he has negotiated between an account of the social predicament underwritten by the figure, yet has also revelled in the pleasures of abstraction and pattern; he has elaborated a vibrant form of compressed allegorical narrative in his paintings, yet has boldly translated his concerns with freedom, oppression and the desire for emancipation into sculpture and installation.” – Ranjit Hoskote
* Iranna’s museum and institutional shows include The Eye and the Mind: New Interventions in Indian Art, organised by National Gallery of Modern Art, New Delhi, at the Minsheng Art Museum, Beijing, China, curated by Prof. Rajeev Lochan; the Heritage Transport Museum, New Delhi, curated by Priya Pall; Museo de la toile de Jouy Espace d’art contemporain, Paris; Roots in the Air, Branches Below: Modern & Contemporary Art from India, San Jose Museum of Art, San Jose, California, USA; Crossings: Time Unfolded, Kiran Nadar Museum of Art (KNMA), New Delhi, curated by Roobina Karode; Go See India, curated by Amit Mukhopadhyay and Oscar Aschan, Contemporary Indian Art, Gothenburg, Sweden; The Intuitive-Logic Revisited, from Osians Collection at The World Economic Forum, Davos, Switzerland, among numerous others. Iranna’s solo shows include Tempered Branches, Aicon Gallery, New York, 2014; Limning Heterotopias: A Journey into G.R. Iranna's Shadows of the In‐Between, Gallery Espace, New Delhi, 2012; Scaffolding the Absent, The Guild, Mumbai, 2011; Ribbed Routes, The Guild, Mumbai, 2010; Birth of Blindness, the Stainless Gallery, New Delhi; The Dancer on the Horse, Berkeley Square Gallery, London, UK, 2007. |
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