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New Indian Express
4 days ago
- Entertainment
- New Indian Express
Of Everyday Life
For twins and artists, Rohan and Roshan Anvekar, art is a medium to understand the self and society. 'We have been working in collaboration for four years now,' says Rohan. 'For us, art speaks about day-to-day life, morality, and time, and it also shapes philosophical thoughts.' The exhibition, 'Of the metamorphosis and masquerades: …Acts from the theatre of life', reflects on everyday life, identity, and how society shapes who we are. With surreal, thought-provoking artworks, the artists invite viewers to pause and look beyond the surface. The show opened on July 10 at Gallerie Nvya, and will be on view till August 25. Masks, animals, babies, ants, and ticking clocks are recurring subjects in the artworks. Each has its own meaning. A baby holding a cube appears in several works. 'The day we are born, we start our journey of survival and settling down,' explains Rohan. 'We depart this world the same way we entered. Even in the last moments, we are solving a puzzle.' Some paintings show ants carrying money, used to represent society's endless race for wealth. 'These days, the knowledge you gain doesn't matter. Power is in the hands of the rich,' the artist remarks. 'This is what society has become.'
Hindustan Times
11-07-2025
- Entertainment
- Hindustan Times
Singapore Art Week: Wild and wonderful
Large art events are often overwhelming. There's so much to soak in that it is difficult to articulate which works were particularly interesting. This was true too of Art SG, a part of the Singapore Art Week, an annual, 10-day arts festival organised by the National Arts Council (NAC) and supported by the Singapore Tourism Board (STB). In this, its 13th edition, held from January 16 to 26, it featured 130 events across various venues. The participating galleries included Gagosian, Switzerland, White Cube, London, Thaddaeus Ropac, Austria, Yeo Workshop, Singapore, and galleries such as DAG, Anant Art and Gallerie Nvya from India. Singaporean artist Jahan Loh's Postcards from Space (Riddhi Doshi) Part of Vietnamese-born artist Tuan Vu's large diptych The Rite to Spring (Riddhi Doshi) The brain always needs time to process the sensory overload of these spectacular events. The paintings, sculptures or installations that stay with the viewer for many days afterwards are the ones that have clearly made an impression. Art SG had many such works. One that particularly stood out was Vietnamese-born artist Tuan Vu's large diptych The Rite to Spring that takes you into an enchanted dream world where women in kimonos sit by a serene water body in a lush green landscape abloom with colourful flowers. Crafted using oil, oil stick, and gold leaf on linen, the work blended Eastern and Western artistic traditions by combining elements from the tropical landscapes of his native country with the colours of the South of France and with Japanese prints. Reflected in the pond are the women in robes with intricate designs. But their faces have no features, no eyes, nose or lips. 'That makes it possible for anyone to see themselves in the painting,' says Vu. There is also a cat in there and birds in cages and flowers that have little musical notations. 'I leave the reading of the work to the viewers' interpretation,' adds the artist who currently lives in Quebec. Vu grew up with six sisters so women have always been the focus of his works. Usually, they are painted nude, like in his work inspired by Édouard Manet's Le Déjeuner sur l'herbe (Luncheon on the Grass, 1863). Vu's version however replaces the two fully dressed men facing a nude woman of the original with two elegantly dressed women. One of them wears traditional Chinese attire and the other is dressed in a Japanese kimono. The three are engaged in a peaceful conversation, as if they've forgotten their countries' conflicted pasts, says Vu, adding that the question to ask really is who is the nude woman and where is she from? The inquiry into womanhood continues in Ravinder Reddy's newest works. His huge heads are on display at Gallerie Nvya's space. The focus of these sculptures is on elaborate hairstyles. One depicts a bun held together with a thick, blue band and decorated with a ring of crystals, followed by a string of orange and white flowers. That's the gajra, that many south Indian women particularly enjoy wearing. There is also a high-relief sculpture version featuring an oval bun held together with a clip and strings of pearls and golden diamonds. 'We have a long tradition of high relief sculptures in India. In our temples and caves,' says Reddy. 'But hardly anyone creates them now. So, I thought why not make them,' he adds. In these new works, Reddy continues his exploration of the female form, celebrating everyday women, their confidence and resilience, and questions traditional beauty standards, cultural pride and identity. The ordinary was also the highlight of Paris-based Shourouk Rhaiem's works. Her series titled Memory and Metamorphosis comprises sculptural replicas of the packaging of everyday products such as soaps, detergents, cola drinks, chips and chocolates encrusted with semi-precious stones and diamonds. It looks very pop art but shinier. Rhaiem's work plays with personal history and collective memory and highlights how ordinary objects can hold profound emotional and cultural significance in the contemporary world. Ravinder Reddy's sculptures focussed on elaborate hairstyles (Riddhi Doshi) It's but a short leap from thinking about the present to imagining the future and Singaporean artist Jahan Loh's Postcards from Space takes precisely that leap. His multimedia and video projection works, paintings and sculptures on space exploration and environmentalism present what it would be like to live in space, to be extraterrestrial bodies, and to ensure that the human species survives. A particularly large video work, that delves into ideas of the interplanetary diaspora and space migration, has two humans in pink space suits somewhere in space interacting with viewers. The Singapore Art Week also featured the Light to Night Festival, whose theme this year was 'Do you see me?' 'As Singapore celebrates its 60th independence anniversary this year, we wanted the theme to be identity driven. We are all always trying to figure out who we are. Do we know who others are? And where they come from? Also, do we really see them? So, this felt like the best theme,' said Vygesh Mohan, director of Light to Night. Also quite fascinating were projections onto the façade of the National Gallery Singapore of the work of artists like Chng Seok Tin, Jaafar Latiff, and Goh Beng Kwan, winners of the Cultural Medallion, the country's award for excellence in arts. Multimedia studio ARAFURA further added to the show by interpreting the theme. Tin's The Spirit of Resilience's projection celebrated the artist's dedication to her art. She continued illustrating despite losing her vision. Imprinted Memory by Kwan traced the artist's evolving practice and self-discovery through his works. The Perception of Beauty by Jaafar Latiff, which used traditional Singaporean batik art to tackle modern subjects, showcased his works from the 1970s to the 1990s. Sculptor Han Sai Por's Traveling through the Tropical Forest featured six large inflatable sculptures resembling tropical ferns at the Padang, an open field in Singapore's Civic District. The work highlighted the often-overlooked natural elements within Singapore's urban landscape such as corals and sea shells. The work of Kenyan artist Thandiwe Muriu (Riddhi Doshi) Singaporean street artist TraseOne transformed the façade of The Arts House into a colourful, multimedia projection, which traced the evolution of Singapore's graffiti scene in a work entitled Now You See Us? Apparently, graffiti which was once underground is now widely accepted. However, the street art scene in Singapore is still heavily regulated by the government. Visually-impaired artist Claire Teo's moving installation Through the Looking Glass inside the National Gallery Singapore put a spotlight on the complexities of human perception. Inspired by Teo's personal journey and the voices of underserved communities, it encouraged viewers to look through narrow openings of different windows to see people from different backgrounds, talking to them. In contrast to all that serious contemporary art, the vibe at the Art Box screamed 'Gen-Z' with displays on space mission-led AI art and pop-art nails, tattoos and sneakers, among other wild and wonderful things. While thought-provoking contemporary works from across the world that discussed things that matter resonated with this viewer, it wouldn't be off the mark to say that the Singapore Art Week had something for everyone. Riddhi Doshi is an independent journalist.
Hindustan Times
31-05-2025
- Entertainment
- Hindustan Times
HT City Delhi Junction: Catch It Live on 31 May 2025
What: Whimsical Lines – Urban refrain through tribal abstraction Where: Gallerie Nvya, 101-103, Square One Designer Arcade, C-2, Saket District Centre When: May 24 to June 28 Timing: 11am to 7pm Entry: Free Nearest Metro Station: Malviya Nagar (Yellow Line) What: Tribute to Marcello Mastroianni | The Beekeeper (O Melissokomos) Where: The Stein Auditorium, India Habitat Centre, Lodhi Road When: May 31 Timing: 7pm Entry: Free Nearest Metro Station: JLN Stadium (Violet Line) What: Book Discussion | Dakshin Africa – Gandhi Se Mahatma Gandhi by Judge Virender Goyal – Ambassador Virender Gupta, Justice Talwant Singh (Retd), Justice Sudhir Jain (Retd), Justice VP Vaish (Retd), and vocalist Shankar Sahni Where: Gulmohar, India Habitat Centre, Lodhi Road When: May 31 Timing: 7pm Entry: Free Nearest Metro Station: JLN Stadium (Violet Line) What: Gharwali (based on Urdu writer Ismat Chugtai's story) Where: Shri Ram Centre for Performing Arts, 4, Safdar Hashmi Marg, Mandi House When: May 31 Timing: 7pm Entry: Nearest Metro Station: Mandi House (Blue & Violet Lines) What: Karunesh Talwar Live Where: Aiwan-e-Ghalib Auditorium, Mata Sundri Road, Mandi House When: May 31 Timing: 8pm Entry: Nearest Metro Station: Mandi House (Blue & Violet Lines) What: National Silk Expo Where: Constitution Club of India, Vithal Bhai Patel House, Rafi Marg, Sansad Marg When: May 29 to June 4 Timing: 11am to 9pm Entry: Free Nearest Metro Station: Patel Chowk (Yellow Line)
The Hindu
22-05-2025
- Entertainment
- The Hindu
Bhuwal Prasad's upcoming solo show at Gallerie Nvya is a new spin on the traditional art
Bhuwal Prasad, who hails from Azamgarh in Uttar Pradesh, brings a unique blend of tribal elements, urban clutter, and futuristic wonder to his canvases, challenging the very idea of what folk art can be in today's world. 'I never plan my paintings,' he says. 'Whatever I see becomes a part of the canvas.' Prasad's exhibition Whimsical Lines: Urban Refrain Through Tribal Abstraction opens at Gallerie Nvya on Saturday. His artworks brim with tribal motifs including jewellery, animals, toys, and wall art works. He gives them a twist with the chaos of city life and also throws in unexpected science fiction elements. Hidden aliens, spaceships, and UFOs fill his canvases hinting at his fascination with the unknown and a world beyond our own. 'Technology is advancing so fast, sometimes I feel there are aliens behind it,' he says. . Prasad's process is as intriguing as his imagery. Inspired by crumpled papers and urban waste, he began experimenting with jute, fibre, and resin to mimic the textures of things we discard on a daily basis. One of his works in mixed-media that stands out at the exhibition is titled 'Urban Crowd Filled'. It transforms trash-like textures into vibrant surfaces for storytelling. 'I wanted to paint on things we usually ignore and show how beauty can emerge from chaos,' he says. Though his work draws heavily from folk and tribal influences, Prasad insists he is not a tribal artist in the traditional sense. Rather, his art is more of a bridge between the simplicity of tribal life and the layered intricacy of urban existence. This duality is reflected in his use of colour — the clashing shades much like the contrasting rhythms of rural and urban life, create a soothing impact that define his paintings. Some of his paintings are monochrome, too — blue, black or pink, and convey a stark silence. Prasad's portraits, much like his other works, are layered. Some reflect the stillness of nature, others the wild energy of human emotions. One of the works features conjoined twins while another captures tribal adornments and rituals. Each canvas evokes free and different interpretation. 'People often tell me things about my art that I didn't even realise,' he smiles. Prasad studied Fine Arts in Varanasi, a city that shaped his aesthetic sense as much as his hometown did. Currently based in Delhi, his journey from rural Uttar Pradesh to the capital is reflected in his evolving style. A painting from his college days, still in his possession, reminds him of how far he has come. 'I've changed, and so has my art,' he says and adds, 'I still paint like a child, just feeling, not overthinking.' For fellow artist Rohan, Prasad's work offers endless intrigue. 'I can look at his work for hours, There's always something new to find in his paintings,' he says. Maybe because Prasad's art doesn't dictate meaning. It nudges people to explore the spontaneity of his artistic experimentation. In its quiet complexity, his work suggests that beauty often emerges from the very chaos we try to escape. Prasad's strokes on the raw textures are bold enough to make people pause and understand the dynamic interplay of tradition and modernity. Priya Prakash At Gallerie Nyva, Square One Designer Arcade, Saket; May 24 to June 28; 11am to 7pm (Sundays closed)
The Hindu
08-05-2025
- Entertainment
- The Hindu
Artist Lal Bahadur Singh paints the paradoxes of the present
In a bustling metropolis like Delhi, where the rhythm of life is defined by hurried footsteps and the relentless drive for progress, moments to pause and reflect are rare. Amid the urban frenzy, Silent Echoes of a Flight Beyond and Whispers Beneath, an exhibition by Lal Bahadur Singh at Gallerie Nvya offers a space for reflection. The artist's works stand as a quiet critique of the city's unchecked growth and its impact on the environment. Devoid of human figures, Singh's exhibition pulsates with the vibrant presence of birds, including parrots, seagulls and woodpeckers. At the heart is a meticulously rendered sparrow in brilliant hues as a symbol of nature's simplicity that is now vanishing from urban spaces. Singh uses this once ubiquitous bird as a poignant reminder of the fragility of our environment, highlighting the cost of prioritising industrialisation over living in harmony with nature. His art is not against progress but warns against its excesses. His works depict towering modern housing structures that loom over fragile landscapes, an image of humanity's relentless ambition overpowering the Nature beneath. The visuals are stark; the artist presents entire canvases consumed by burnished bricks. Discarded medicine bottles, crumbling trees, and polluted terrains represent the widening gap between human activity and the planet's well-being, which is an unsettling and yet undeniable reality. One of the most striking pieces at the exhibition captures a group of people walking obliviously over a barren, devastated landscape, symbolising the disconnection between human actions and the consequences that follow. Through the powerful metaphors, Singh compels viewers to question the true cost of development and ponder whether we are careening toward an environmental collapse. The exhibition with 23 paintings and one installation on display serves as a quiet but urgent call to acknowledge the delicate balance between the race for growth and the burden on Nature. Shreya Pathak The exhibition is on at Gallerie Nvya, 101-103 Square One Designer Arcade, C-2 District Centre, Saket till May 17; from 11am to 7pm
