“I sit here and try and find a unity,” she wrote in her diary, “not between religions but between people and people.” The artist had returned to India the previous year from Paris, where she studied lithography following her first solo show at Gallery 59 in Mumbai’s Bhulabhai Desai Memorial Institute. In 1964, Nasreen Mohamedi, who moved to Mumbai from Karachi three years before Partition, wrote about the experience of continuous conflict. They appear morbid, gentle, and undefined. Where are the horses, swans, tigers, antelopes, and hares? I did as the gallery told me and shone a UV flashlight onto its surface, where now I could discern the peculiar, enigmatic shadows of departed birds (screen-printed onto the image with solar dust ink by the artist) perched on trees. Then there are the mysterious, seemingly empty spaces in Jan Brueghel the Elder’s The Temptation in the Garden of Eden (ca. The implication of the title ( untitled, 2020, 2023) seems clear: to disrupt the idea that nature as distinct from humanity is something to be tamed and subordinated. In twinned reproductions of Pietro Longhi’s Il rinoceronte (1751), for instance, Tiravanija has altered or partly obscured the original image of Clara-the first rhinoceros brought into Europe from Asia-as depicted in a Venetian carnival. ![]() On entering the exhibition, the visitor is greeted by framed prints of five Old Master paintings which have been appropriated and adapted by Tiravanija. The formally diverse series of works that anchor Rirkrit Tiravanija’s new solo exhibition each highlight the accelerating inequity among living beings and propose tentative frameworks for their reconciliation.
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