The Art Gallery in Ahmedabad for Artists and Art Lovers

Nature Morte - Repositioned

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Nature Morte - Repositioned
19 December,2010 - 27 December,2010
Curated By: khanjan dalal
Indrapramit Roy,Lavanya Mani,Rajesh Sagara,Minal Damani,Satyanand Mohan,Shefali Nayan,Khanjan Dalal
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An idea- ‘Still life’, an essential choice of objects and a manner of arrangement in a spatial field- a genre that is an important and integral part of history of Art could be passe as practice but is not out of the system.

In Indian milieu ‘still life’ was never as popular as in history of Art of the West as the Indian narrative tradition or high art on temple structures never practiced such representations. It was introduced by colonial art and since then ‘Still life’ is seen as part of training that is to construct a united representation of objects for painting. History shows that ‘Still life’ was actually invented around in 17th century in Europe. Then, the chosen objects made it ‘woman’s work’ as most of it came popularly from kitchen. Nevertheless studies have shown that these inanimate objects demanded more attention as they carried life and significant messages of their own. The constant changes in still life have been an interesting part of Art history due to its relation to the transformation of society as well as artistic ambitions of its time. For example around 16 and 17 century Vanitas were commonly practiced in Europe to represent emptiness of life and so were the ‘Memento mori’ to signify death.

History also says that Modern Art movement could be credited to practice of ‘still life’ paintings in late 19th century to post war and contemporary art like apples of Paul Cezanne to Brillo boxes by Andy Warhol and to Luc Tuyman’s still life in the west whereas the traditional ‘still life’ practice by K H Ara, H A Gade and F N Souza laid the foundation of progressive art movement in Indian. Today Art scene is at a juncture where readymade to found to created objects in monumental presence question the special ability to render tangibility evoking sense of a touch and texture of ‘Still life’. It is the practice where artist is a commander for both ideological and formal symphony of the visual representation relating on one hand to personal/private desires and beliefs, and, on the other, to technical innovations.

Within this creative pursuit we maintain and later question the practice of ‘Still life’ by proposing a project which is divided into two parts. The first part will invite artist to create a work of Art in 2D based on her/his desired still life ensemble in her/his own private studio environment between the given period of time.

The second part is an attempt to question, relocate and reexamine the familiar territory of the process in which all artists will be invited to a location where they would be asked to contribute 2-3 objects from their previous private setting into a one large collective setting for a designated period. Thereafter they would engage into production of a work based on that collective setting to negotiate further with the present ensemble and respond in a medium of their choice.
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