AMITABH KUMAR
1984
Pandoroid
Pronunciation: /panˈdɔːrɔɪd/
noun
Harboring an acute and an often lethal feeling of hope.

Amitabh's primary practice is that of a visual storyteller and it is in this role that he is exploring his relationship with space and time.

Amitabh Kumar is a designer/artist from New Delhi, graduated from the Faculty of Fine Arts, MSU Baroda and has worked as a part of the Sarai Media Lab (2006 -2010) where he researched and made comics, programmed events, designed books and co-curated an experimental art space. He is visiting faculty to the Srishti School of Art, Design and Technology and is an initiating member of the Delhi based comics ensemble, The Pao Collective.

CHARWEI TSAI
1980
Bonsai Series
Lyrics of love songs that Charwei grew up listening to in Taiwan about loneliness in love are written onto bonsais, which are trees that are manipulated and dwarfed for a sense of beauty. Charwei Tsai’s art practice is strongly affiliated with Thoughtforms, the Buddhist notion of impermanence and the cyclical nature of human existence. Tsai’s art reflects and conserves her Thoughtforms, which in turn are platforms for viewers’ reflections and perceptions. 

Charwei Tsai was born in Taiwan and presently lives and works in Taipei and Paris. In addition to her art practice, Tsai publishes, designs and edits Lovely Daze, a curatorial journal published twice a year. Tsai graduated from the Rhode Island School of Design with a Bachelor of Fine Arts in Industrial Design and Art & Architectural History (2002) and completed the postgraduate research program at L’École Nationale Supérieure des Beaux-Arts in Paris (2010). She has had solo exhibitions in Taipei, Paris, Sydney, Tokyo, Singapore, Hong Kong, Beijing, Bogotá and latest being in Mumbai with The Guild in 2010.  Her projects have been included in various international exhibitions, including the inaugural Singapore Biennale (2006); Thermocline of Art: New Asian Waves at the ZKM Center of Art and Media, Karlsruhe (2007); Traces du Sacré at the Centre Pompidou, Paris (2008); the 6th Asia Pacific Triennial (2009), and Taiwan Calling at the Ludwig Museum, Budapest (2010). Tsai is also a participating artist in the Yokohama Triennale and the Ruhrtriennale (both in 2011).

G.R. IRANNA
1970
Garden of Dead Flowers 

“One can never pin-point the causes that engender terrorism. But innumerable number of people have suffered because of terrorist acts. One can look at this outcome through the metaphors that they have left before us. I intersperse the contemporary stories of peace and terror with the historical registration of terror and peace. I take a re-look at the symbolism that the chroniclers of times had left for us to contemplate.”- G R Iranna

Iranna obtained M.F.A. from Delhi College of Art. He has had several solo shows the latest being  Scaffol(ing) the Absent at The Guild, Mumbai in 2011.  Iranna is a recipient of National Academy award in 1997 and the M.F.Husain and Ram Kumar award. Iranna’s selected group shows include Finding India: Art for the New century, Museum of Contemporary Art, Taipei, Taiwan; Go See India, curated by Amit Mukhopadhyay and Oscar Aschan, Gothenburg, Sweden; Cultura Popular India y mas alla, la presidenta de la comunidad de Madrid Museum, curated by Shaheen Merali (2009), and Arad Biennale, Romania(2005) among others.

KAIWAN MEHTA 
1975 
The Bhatiawadi Pagadis
Citylog – Catalogue Pg. 2

Architecture can be read as a literary text, and as an archive, where architectural elements and motifs are repositories of history and memory, figuratively objects of story-telling. In the attempt to construct the multiple histories of an urban neighbourhood, the contemporary life in the once ‘native town’ of colonial Bombay, architecture becomes a site for locating culture and society. The architectural skin is a rich composition of narratives, within which families and communities live and define the social and political space. So while architectural ornament is explored as an object in the history of design and visual culture, it can be employed to attempt a theory and narrative for the ‘city’ and its culture. Nineteenth century saw catalogues as a medium of documenting and transferring designs and visual cultures. The catalogues of the nineteenth century were often conscious documents of recording cultural habits of design and taste, becoming the ground work for much larger historical and social judgments on the artists, artisans and communities that produced and consumed these. Without much intention, the trade brochures and design magazines do become reflections of the times and people that consume them. The catalogue in this project now takes on the role of the pamphlet – a theoretical pamphlet. The ornament starts weaving its web of references, and as the weaves draw in visual and textual references building up contexts within which the ornamental detail emerges, lives and thrives. The merging context is that of the nature of architectural practice and the metropolis that wishes for an architectural imagination. 

Kaiwan Mehta has studied Architecture, Literature, Indian Aesthetics and Cultural Studies. He is a theorist and critic in the fields of visual culture, architecture and city studies. He is currently pursuing a doctorate at the Centre for the Study of Culture and Society, Bangalore. While being involved in teaching, writing and research on architecture and the city, he has been associated with many institutions like KRV Institute for Architecture, Mumbai, Mohile Parikh Centre, Mumbai and Akademie Schloss Solitude, Stuttgart, where he was a fellow from 2007-2010. He has also been in editorial positions with two reputed architecture magazines in India, one being the official magazine of the Council of Architecture (India). He has authored ‘Alice in Bhuleshwar – Navigating a Mumbai Neighbourhood’ (Yoda Press, New Delhi: 2009), a book which takes the reader for a walk through the streets and past the buildings of the ‘native town’ of colonial Bombay, reading their histories and excavating their memories, while continuing to negotiate their present context. Through 2008-09 he was associated, as an urban researcher, with the ADACH (Abu Dhabi Authority for Culture and Heritage) Pavillion for the Visual Arts at the Venice Biennale 2009 under the Artistic Directorship of Catherine David. This association extended into a new format with the ADACH programme on Performing Arts Residencies, looking at developing a vibrant atmosphere for the arts in the city of Abu Dhabi. He has written and lectured on urbanity and architecture, visual culture and aesthetics for/at various institutions, and is also translated into German and Polish for the 'Promised City' project of the Goethe Institute. Published in edited volumes like ‘Chawls of Mumbai, Galleries of Life’ edited by Neera Adarkar, ‘Fetish and Consumption’ edited by Catherine Perret, and Mumbai Reader 09 by UDRI. In December 2010 he established, ‘Arbour: Research Initiatives in Architecture’, being its founder Director.

K. P. REJI   
1972 
Table  
Wood, Tire and a Stone

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 MFA from MSU Baroda. He was awarded the prestigious Sanskriti Award for the Young Artist-2007, Sanskriti Foundation, New Delhi. Reji was part of Jogja Biennale Shadow Lines curated by Suman Gopinath and Alia Swastika; Reji’s selected group exhibitions include 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; His recent solo exhibitions being With a Pinch of Salt  at Nature Morte, New Delhi in collaboration with The Guild and Just Above My Head, The Guild, Mumbai.

POOJA IRANNA
1969 
The Read Beam

Through her work, Pooja Iranna presents man made structures, which talk of human beings, their presence, expressions, mind and emotions without their physical existence .

Pooja has been talking of these structure ever since she started her practice almost two decades back . She has been working in many mediums to explore her buildings and spaces outside and inside. She has worked extensively with paper and has also used photographical imagery as a powerful mode of expression over the years.

Pooja Iranna remains grounded to her architectural spaces in this show as well , exploring the possibilities with which humans have extended their creative mind .According to her work , she believes that we have reached our zenith when it comes to expressing our ingenuity .There is no stone unturned as the human race has successfully managed to use their cultural as well as technical knowledge along with positive energies ,to construct the unthinkable .

Through this canvas she focuses on the ever growing cities ,

which are full of concrete .The structures are coming up fast and without a thought  or even necessity at times.

Pooja Iranna received her MFA from the College of Art, New Delhi. Her selected awards have been, Charles Wallace India Trust Award in 2002, and the Outstanding Women Achievers Award by (YFLO), a wing of FICCI, India in 2009. She has also been one of the Celeste prize finalists in 2010 for her video Another New Beginning. Her Solo, Of Human Endeavour, at the Guild, Mumbai was selected among the twenty shortlisted for Skoda Prize 2010. Her solo, In the Waves and Underneath, at Palette gallery, New Delhi has again been shortlisted for Skoda Prize 2011. Some of her solo shows include, In the Waves and Underneath, at Palette gallery, New Delhi (2010); Of Human Endeavour, at the Guild, Mumbai (2009); Metamorphic Mathematics, Bangalore, Mumbai, New Delhi (2003-04);  Reflections, Wimbledon School of Art, London (2002);   House of Cards, at Art Inc, New Delhi (1999);  Fragility curated by Rakhee Balram , Art Alive,Gurgaon, India; Fragile 1x1 Gallery, Dubai; In you is the illusion of each day ,curated by Maya Kovskaya,Latitude 28; Fabular Bodies, curated by Gayatri Sinha, Harmony Art Foundation ; Palimpsest, at AICON New York;   Celeste Prize Exhibition, Second Edition, New York;   International Streaming Festival, 6^TH edition, The Hague, Neitherlands;   Liquid Cities & Temporary Identities, Video art & architecture event, Netherlands; Feminine Recitals, curated by Veerangana Solanki, Exhibit 320, New Delhi;  India Revealed, curated by Antonio Manfred at Cam Casoria Contemporary Art Museum, Naples, Italy;  Korea-India Contemporary Art Exchange Exhibition, Seoul, Korea and Emerging India, at the Henry Moore Gallery, London.

PRAYAS ABHINAV
1982
Reluctance 

With fluidity and coherence being valued over coarse experience, it is often difficult to understand the friction inherent in social relationships. Friction is a natural entity and often lucidity is an element of implied fiction. 

How does an obsessive urge to control one's social reality manifest? What are the parameters for this sense of control to exert itself? How do things get processed in our mind when the material is fragmented and light (without a body)? 

Artist,  Faculty at the Srishti School of Art, Design and Technology, Center for Experimental Media Arts (CEMA). Prayas Abhinav lives in Bangalore, India.   He has taught in the past at Dutch Art Institute (DAI) and Center for Environmental Planning and Technology (CEPT). He has been supported by fellowships by Sarai/CSDS (2005), Openspace India (2009), TED (2009) and Center for Media Studies (CMS) (2006). He has presented his projects and proposals in the last few years at Periferry, Guwahati (2010), Exit Art, New York (2010), Futuresonic, Manchester (2009), Wintercamp, Amsterdam (2009), 48c: Public Art Ecology (2008), Khoj (2008), Urban Climate Camp, ISEA (2008), Sensory Urbanism, Glasgow (2008), First Monday, Chicago (2006), The Paris Accord (2006) and PSBT/Prasar Bharti (2006). He has also participated in the exhibitions Myth ←u8594 Reality (2011) at The Guild, Mumbai, Continuum Transfunctioner (2010) at exhibit 320 in Delhi, Contested Space - Incursions (2010) at Gallery Seven Arts in Delhi and Astonishment of Being (2009) at the Birla Academy of Art and Culture in Kolkatta. In July 2011, he curated a residency and exhibition project on time called, On the Sidereal at The Guild (Mumbai). 

RIYAS KOMU
1971
Salt and Pepper 

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. Komu was a participant in the 52nd Venice Biennale, 2007 curated by Robert Storr. Other museum exhibits 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, Herning Kunstmuseum, Herning, Denmark; 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, Mumbai and Safe to Light, Azad Art Gallery, Tehran.

SALEEM BHATRI   
1975
cabinet ‘Rs.hwat’
under the table series 

Adaptive human usage collapses regular notions of spatial integrity. By lending an inadvertent transaction zone, the ubiquitous table relinquishes itself to playing an adjacent role as an efficient organizer of corrupt practice, yet remaining a sophisticated enabler for ‘tidying away’ and resolution. Within a labyrinth of subsisting hierarchies, this pervasive and indeterminate ‘under the table’ domain addresses a charged environment controlled by motivated entities that amorphously enforce compliance. This collective of permeable voids render a systemic stability whilst ensuring that a robust framework supports every successive tier.

cabinet ‘Rs.hwat’ is essentially a study and reflection of this incidental space- resulting in a hybridized formation that seeks to supplant typical representations of furniture.

It is also a showcase to the interested prospector, of the serious opportunities that lie, in the mastery of this domain. 

Saleem proposes to laminate architectonic and design qualities onto the Indian condition to precisely generate a coaxial artistic direction and create a series of works in the design-art landscape. By a critical renunciation of the usual and the luxe, and by reclamation of meaning and metaphor he negotiates an object-language rich in form, context and possibility.

Saleem Bhatri trained as an architect and furniture designer at the Academy of Architecture -Mumbai, National Institute of Design (NID) -Ahmedabad and Ecole Nationale Supérieure des Arts Décoratifs (ENSAD) –Paris, where on a French government scholarship, he was a resident of the Cité internationale des Arts, Paris. His project Series: Right In-Tension which included a Table, Bench and Screen was awarded the ‘Aide à Projet’ grant in 2004 by VIA (Valorisation de l’Innovation dans l’Ameublement), an association for contemporary design in France. This was exhibited at various Pavilions – the Paris Salon du Meuble, Milan Furniture Fair, Saint Etienne Design Biennale, 100% Design London, Nantes Salon Preference Habitat, etc. The Table from the Series was selected for the VIA 3.0 exhibition (16 December 2009 -1^st February 2010) at the Centre Georges Pompidou, Paris. He is currently pursuing a Post Graduation in Modern and Contemporary Indian Art History at the Dr. Bhau Daji Lad Mumbai City Museum. 

T.V. SANTHOSH
1968 
History Lessons
The Butterfly Effect
Wound that Never Heals  

 “One looks at the world through tinted spectacles of news reports, that unroll the stories of massacre of innocents, spectacular highlights of explosions, flux of faces of people who make headlines, spitting the words of hate and arrogance and the kinds of propaganda campaigns that just struggle to hide nothing but truth. It is a strange world exposed and manipulated. A world where, one does not know who the real enemy is, yet ‘terror’ is the common word for both those who resist and those who attack.

 It is one’s extended vision that construct and reshapes the perceptions of the ‘present’. And it is riddled with a number of eternal questions and a couple of ready-made yet elusive solutions, which I am interested with. It is the touch and smell of the ‘present’ I am dealing with in my works, in a process to find a solution, where the praxis of language becomes one with the perceptions of reality.” T. V. Santhosh

“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.” – Santhosh S.  

Born in Kerala, T.V. Santhosh obtained a B.F.A in painting from Santiniketan and Masters in Sculpture from MS University, Baroda. Selected museum shows include India, curated by Pieter Tjabbes and Tereza de Arruda, Centro Cultural Banco do  Brasil in Rio de Janeiro, Brazil; 4^th 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 curated by Barrie Mowatt; 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); Aftershock at Contemporary Art Norwich at Sainsbury Centre, England in 2007 and Continuity and Transformation Museum show promoted by Provincia di Milano, Italy.

SHADI GHADIRIAN 

1974
Nil Nil # 09

In Nil, Nil series, objects of military use – knife, helmet, canteen, ammunition belt, grenade etc. penetrate the domestic space: the menace of conflict grafted onto peaceful everyday life, while in a way also becoming contained by the tranquility of the familial location.

Shadi Ghadirian studied photography at Azad University (in Tehran). She works at the Museum of Photography in Tehran. Ghadirian has exhibited in museums and galleries across Europe, and the U.S.A. including solo shows at the Los Angeles County Museum of Art, California; Photography Festival of Istanbul, Turkey; Gallery B21, Dubai; Al Maamal Foundation, East Jerusalem, Palestine; Villa Moda, Kuwait; Silk Road Gallery, Tehran; Golestan Gallery, Tehran. Her works are in both private and public collections such as the MUMOK in Vienna, Centre Georges Pompidou in Paris, The British Museum and Victoria & Albert Museum in London; The Sackler Gallery, Smithsonian Institution, Washington DC; Saatchi and Saatchi, London and Los Angeles County Museum of Art. Shadi Ghadirian was a part of the publication titled Emerging Asian Artists, which was launched along with the exhibition of the same title at Art Gwangju 2010.

SUMEDH RAJENDRAN 
1972 
Untitled 

“We often see, but fail to gauge the sum of all fears and anxieties that emerge in our lives. The changes they usher in are massive, and in the process they contribute to redrawing of existing socio-political vulnerabilities and even faiths, sometimes slowly sometimes very fast.

It is these shifts in perceptions, beliefs, human behaviours and value systems that I attempt to explore in new works---it is the concomitant demarcations in domestic life patterns that I tend to articulate.” – Sumedh Rajendran

Sumedh Rajendran completed his BFA in Sculpture from the College of Fine Arts, Trivandrum and obtained his Master’s degree from the Delhi College of Art. His most recent shows are On the Road to the Next Milestone, part of the Exhibition Indian Highway, at Herning Museum of Contemporary Art (HEART), Herning, Dual Liquid, Sakshi Gallery, Mumbai, 2010; India Awakens: Under the Banyan Tree, Essl Museum, Austria, 2010; Go See India, part of India-Sweden Cultural Exchange Program presented by Emami Chisel, Vasa Konsthal and Gallery-Scandinavia, Gothenburg in 2010; Expressions at Tihar, Indira Gandhi National Centre for the Arts, New Delhi, Indian Summer at Galerie Christian Hosp, Berlin, in 2009; Progressive to Altermodern at Grosvenor Gallery, London, in 2009; Inaugural Show at Sakshi Gallery, Taipei, in 2009. 

VIDYA KAMAT
Wish Bubble I - IV\

Wish bubble series of works tries to highlight the constant pursuit of pleasure and the inadvertent  fetishization of commodities which the globalized market has brought forth. The 'spectacle-image-commodity' relationship creates a condition that reduces the lives into a tangle of insatiable needs and the search for commodities a thirst for constant consumption.

These Images try to portray viscerally this need for consumption.

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, curated by Anupa Mehta. Vidya’s solo exhibitions being Wish, I had stayed home, Rewrite and PMS – a Catalogue at The Guild and Tales from the Edge at The Guild, New York.

Video Lounge:

NAVJOT ALTAF
Minus into minus equals?   

With so many killed and so many more suffering all over the world, with our way of lives being put upside down by increased violence, racism towards specific communities, issues of identity, humiliating airport security checks, asking inappropriate questions:  I see Gandhi as a human rights activist and a philosopher who tried moving from the center to the circumference and back for self-knowledge. According to Gandhi "As human beings, our greatness lies not so much in being able to make the world – that is the myth of the atomic age – as in being able to remake ourselves"... and "I object to violence because when it appears to do good, the good is only temporary; the evil it does is permanent"… What interests me about Gandhi and his philosophy is his idea of co-existence, for him "the law of nature in love, friendship, work, progress and security is creative interdependence".

Navjot Altaf’s works have been shown in Yamuna.Elbe A public art project at the Yamuna in Delhi and the Elbe in Hamburg, curated by Ravi Agarwal (Delhi) and Till Krause (Hamburg); Lacuna in Testimony, Patricia and Phillip  Frost Art Museum, Florida, 2009;  Public Places Private Spaces,  Newark Museum, New York and Minneapolis Institute of Arts, Minneapolis 2008, curated by Gayatri Sinha and Paul Stern Berger;  Tiger by the Tail: Women Artists Transforming Culture,  Brandies University / Museum  Boston and New Brunswick Rutgers University, Douglass Library, Newark, 2008, curated by Wendy Tarlow Kaplan, Elinor W.Gadon and Roobina Karode; INDIA NOW: Contemporary Indian Art between Continuity and Transition,  Provincia di Milano,Italy, 2007, curated by Daniela Palazzoli; Zones of Contact, 15th Biennale of Sydney Australia, 2006, curated by Charles Merewether;   Groundworks, Carnegie Mellon University, (RMG) Pittsburgh, 2005; Another Passage To India, Theatre Saint-Gervais and Musee d’ Ethnographie, Geneva, Switzerland, 2004, curated by Pooja Sood; Zoom – Art in Contemporary India, Edificia Sede de  Caixo Garal de Depositos, Lisbon, 2004, curated by Luis Sepra and Nancy Adajania; Century City - Bombay/Mumbai: City Politics and Visual Culture in the 90’s, Tate Modern, London, 2001, curated by Geeta Kapoor and Ashish Rajadhyaksha; subTerrain: artworks in the cityfold, Haus der Kulteren der Welt, Berlin; 8^th Havana Biennale, Cuba, 2003; Liminal Zones, Apeejay Media Gallerry, New Delhi, 2003, curated by Pooja Sood,; Solo exhibitions include:  Touch IV, Video Installation, Talwar Gallery, New Delhi and The Guild, Mumbai,  2010;  A Place in New York an interactive photo based project, The Guild, Mumbai, 2010 and The Guild Art USA INC, 2011; Touch- Remembering Altaf, Video and motor based sculpture Installation, Sakshi Gallery, Mumbai, 2008;  Bombay Shots, an interactive photo based project, The Guild, Mumbai, 2008; Water Weaving, Video Installation, Talwar Gallery, New York, 2005; Junctions 1 2 3, The Guild, Mumbai, 2006 and Jagar Multimedia Installation, Sakshi Gallery Mumbai, 2006 among others.

POOJA IRANNA
1969
Standing Strong 

Through her work, Pooja Iranna presents manmade structures, which talk of human beings, their presence, expressions, mind and emotions without their physical existence.

Pooja has been talking of these structures ever since she started her practice almost two decades back. She has been working in many mediums to explore her buildings and spaces outside and inside. She has also used photographical imagery as a powerful mode of expression over the years.

Standing Strong is Pooja’s fourth video. The work has buildings at the back which remain static .This backdrop is of her own photographical work. From inside of these buildings, selected words of wisdom by world famous people emerge at regular intervals. These denote strength and zest that inspire people to build create and lead life to its maximum potential.

VIDYA KAMAT
Wish,  I had stayed home

Wish, I had stayed home, alludes to contemporary urban spaces, where spectacles

are relentlessly staged to elicit either 'curiosity and contempt' or 'marveling and admiration'.

The boundaries between the viewer and the spectacle is often eclipsed leaving the target

audience disempowered and isolated.

Here a real life event witnessed by the artist, is staged as a theatrical narrative in a five minute

single channel video which tries to highlight the alienation and loss of meaning experienced within visually saturated urban sites and spaces

NEHA THAKAR
1980
Process of creating editions 

Whether or not, from the dawn of human civilization art has been made with several intentions, but the purpose remain same, to delight the senses of onlooker. My work is the intimate dialogue between my total being and the visual agents which constitute the medium. I have always tried to realize visual and emotional force simultaneously by treating the medium in a way where the viewer becomes a constituent part of the work in an undeviating way. I work “towards” something rather than “from” to transcend the creative process. This process enables me to create myriad visuals within a visual and the changing visual formation creates an illusion which compels the onlooker to participate not as an outsider but to involve with the ongoing process.

In the video I am trying to trace dreams and memories of individuals which are connected to their own pillow through using print making process, which is meant to take reproductions of an image. By using this process to trace dreams and memories is a failure attempt justifying the incapability of human beings to trace it.  

Neha Thakar received her M.F.A in Painting from MSU Baroda. Some of her recent shows are -  VAF@The Guild (Video and Animation Festival) curated by Johny ML at The Guild, and New Indian Film and Animation at  LASALLE College of Arts, Singapore; Myth & Reality, curated by Veeranganakumari Solanki at The Guild Mumbai; Drifting stills, curated by Rahul Bhattachrya, Art Konsult, Delhi; The story of the Multiples, curated by Amit Mukhopadhyaye Emami chisel art, Kolkata; Thaker is currently a Visiting Lecturer at Faculty of Fine Arts, Veer Narmada University, Surat since 2010. Thakar was part of PEERS 2010, Khoj Residency and Residency Program by British Council at Mehraghad Fort, Jodhpu

SOLO PROJECT

PRAJAKTA POTNIS
1980  
Holding on to the Ceiling
Overheads
Cloudburst
The Outside
Knitting Sleep 

Potnis received her BFA and MFA from the Sir J.J. School of Arts in Mumbai, India (1995/2002). Her multidisciplinary work spans painting, installation, sculpture and photography and investigates the porousness and interpenetrability of boundaries and binaries such as inside/outside, public/private, natural/engineered, etc, and has been shown to critical acclaim in India and internationally in venues including Contemporary Art Centre, Vilnius, Lithunia; Zachęta National Gallery Of Art, Warsaw; Indian Highway MAXXI National Museum of XXI Century Arts, Rome, Lyon Museum of Contemporary Art, Paris, France (2011), Heart Herning Museum Of Contemporary Art, Denmark (2010), Astrup Fearnley Museum of Modern Art Oslo, Norway(2009); The Essl Museum of Contemporary Art, Austria (2010);  Khoj International Artist Workshop, Delhi (2009); The ‘Kala Ghoda Festival,’ Mumbai (2007); Grosvenor Vadehra, London (2007); Khoj International Artist Workshop, Mumbai (2005); National Gallery of Modern Art, Mumbai (2002), and others, as well as solo exhibitions, Membranes and Margins, Em Gallery, Seoul (2008); Porous walls The Guild Art Gallery, Mumbai (2008); Walls- In- Between, Kitab Mahal, The Guild Art Gallery, Mumbai (2006). Her work has been featured in significant publications including ‘I’m Not There: New Art from Asia,’ Ed. Cecilia Alemani (The Gwangju Biennale Foundation, 2010); ‘Younger than Jesus: The Artist Directory’ (New Museum and Phaidon, 2009), as well as numerous catalogues and art magazines such as Art ETC, and others. Potnis is also the recipient of the major awards including the Sanskriti Award for ART (2010), the Inlaks Fine Arts award (2003-2004), and the Young Artist fellowship, from the Indian National Department of Culture (2001- 2003).