galerie 88 - Art Chennai

GALERIE 88 

Abani Sen 

Gobardhan Ash 

Sudhir Ranjan Khastgir 

Radhacharan Bagchi 

Sunil Madhav Sen 

Mrinal Kanti Das 

Amina Ahmed Kar 

ART GALLERY | GALERIE 88 

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GALLERY PROFILE 

Galerie 88 opened its first gallery in Kolkata way back in 1988. Over the last fifteen years it has expanded 

its activity in Kolkata by adding two more gallery space to the existing one and has also opened its 

branch in Colaba in South Mumbai with 4000 sq ft of gallery space. We have, during the last 20 years, 

organised nearly 200 shows including artwork of all the present important artists of India and has 

curated several important art show in London and Singapore. Artists represented by Galerie 88 include 

M F Husain, S H Raza, F N Souza, Krishna Reddy, Somnath Hore, Ganesh Pyne, Bikash Bhattacharya, 

Lalu Shaw, Badri Narayn and Laxma Goud. Galerie 88 devotes an equal intensity in promoting the 

Gen next of Indian contemporary Art which includes Paresh Maity, Chittrovanu Mazumdar, S Harsha 

Vardhan, Chandra Bhattacharjee, Partha Shaw, Anupam Chakraborty, Mithu Sen, Samit Das, Riyas Komu 

and Kanchan Dasgupta. 

Galerie 88 has its own publication programme and has, over the last decade, published researched 

catalogues and books on art of India today. 

Galerie 88, in the recent past, was chosen by leading corporate houses to curate special art shows on 

selected themes, both in India and abroad.

ABANI SEN 

(1905-1972) 


Abani Sen was born in Dhaka, now in Bangladesh in 1905. After his schooling, he joined the Government 

School of Arts and Craft, Calcutta when Percy Brown was the principal. 

Sen inherited the socio-politico-economic situation of his times to which he was a witness and a 

sufferer. His art from the beginning did not focus on depicting the dark happenings of the time. He did 

not overtly record the happenings of the period nor did not directly paint pain and suffering of the 

people as did Chitto Prasad, Zainul Abedin, and Somnath Hore. But in a subtle depiction of moods he 

conveyed sadness and melancholia that inhabited whole society. He painted from his subconscious. His 

agitated handling of pictorial space, use of black and grey, and whimsical line albeit suggestive of Chinese 

and Japanese style rendering conveyed a sombre mood. He disagreed with the rigorous realism of the 

Wesyern academic style as much as the delicacy of the romantic revival of Moughal miniatures. He set 

up the Art Rebel Centre in 1932. For him, aesthetic issues in painting evolved naturally from life and 

living, from experiencing and observing, rather than from an abstract principle. There is strong element 

of expressionism in many renderings of animals especially when he works in water colour. Sen’s mother 

and child works are highly evocative. 

Any puritanical view of Abani Sen will hamper the cradebility of such an important Indian modernist 

painter. Tradition, influences, origanilty and experiments are often fated in the works of Abani Sen. 

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ABANI SEN – Untitled, Watercolour on paper, 14 x 20 inches. 

ABANI SEN – Untitled, Watercolour on paper, 22 x 14 inches.


GOBARDHAN ASH 

(1907 - 1976) 

Gobardhan Ash was born in 1907 in Begampur, in Hooghly district, West Bengal. He studied at Government 

College of Arts and Crafts, Calcutta. Later he became a student of Devi Prasad Roy Chowdhury at 

Government College of Arts and Crafts, Madras. He served as a professor at Government College of 

Arts and Crafts, Calcutta from 1953 to 1955. 

In the formative period of his career as an artist, Gobardhan experienced the 1943 Bengal Famine 

and that severe experience changed the entire mode of his artistic expressiveness. In 1950 he joined 

the Calcutta group. He rejected the nostalgic sentimentalism of Abanindranath Tagore and accepted 

the vigour and vitality of the modernist expressionist style and method. His work of late 1940s has 

resonance of Benod Behari Mukherjee noticeable in the imagery and stylistic features. Ash himself 

formed a group named Art Rebel Centre in 1933 and his endeavour was to set an alternative trend. 

He did paintings in oil, watercolour and pastel. His contribution towards establishing oil medium in 

Bengal art is considerable. His approach and method in creating art was fore-grounded within modernist 

tradition especially expressionism. The raw emotions, which Ash exhibits in his works are disturbing 

yet rendered with power to evoke the sordid human conditions of poverty or famine. An artist of 

enormous skill and master of diverse techniques, Ash’s works today are much admired and appreciated 

for their innovative style and approach and he remains a seminal artist of pre independent India. 

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GOBARDHAN ASH – Autumn / 1994, Watercolour on paper, 14 x 22 

inches. 

GOBARDHAN ASH – Morning Light / 1995, Watercolour on paper, 26 x 20 

inches.

SUDHIR RANJAN 

KHASTGIR 

(1907 - 1976) 


Sudhir Ranjan Khastgir was born in Calcutta in 1907. He received his art education in Kala Bhavan, 

Santiniketan. Ramkinkar Baij was his classmate. Later he went Deutch Academy, Munich for further study. 

Khastgir’s works are a personal quest for moral and artistic integrity during the time when the country 

was trying to win freedom. He traveled through Western Europe just before World War II. He had a 

solo exposition in India House, London, which was inaugurated by the famous British sculptor Eric Gill. 

Khastgir was a sculptor-painter. His career as a sculptor began in Kala Bhavan. It is an incandescent 

narrative of people as they work, congregate to worship, sing and dance, relive their mythical past, 

enjoy their epics and suffer alone. He also painted exquisite landscapes, riverscapes and seascapes. 

He worked in gouche, tempera, watercolours, charcoal, pastel and occasionally in oils. His people are 

stylised, elongated and there are elements of abstraction. The arrangement is mostly two-dimensional 

with occasional suggestions of built-in three-dimensional space. 

Floods from the river Gomti in 1960 left his mind under a great physiological and psychological strain. 

This made him recede into a shell and communicate less. He built a house in Shantiniketan called 

Palash and moved there. He was unique because he accepted the `return to nature` philosophy of 

Shantiniketan without accepting its style. In 1963 he was invited by Vice Chancellor of Visva Bharat, 

Justice Sudhir Ranjan Das to take over as principal of Kala Bhavan, Shantiniketan. 

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SUDHIR RANJAN KHASTGIR - Untitled, 

Mixed media on paper, 30 x 25 inches. 

SUDHIR RANJAN KHASTGIR - Woman, 

Mixed media on paper, 14 x 10 inches.

RADHACHARAN 

BAGCHI 

(1910 - 1977) 


Radha Charan was born at Pabna, in Bangladesh in 1910. He graduated in 1939 from Govertment 

School of Art and Craft, Calcutta and came in direct contact with Abanindranath Tagore and Mukul 

Dey. In 1951 he joined Kala Bhavan, Santiniketan. In 1963-73, he was officiated twice as the Principal of 

Kala-Bhavan, Santiniketan. Radha Charan’s versatile aesthetic trajectory traces a rapid movement from 

one medium to another medium, from one school to another. He was a master painter working in oil, 

tempera, opaque and transperant watercolour besides being competent with Abanindranath Tagore’s 

wash painting style. His great virtuosity still mesmerises viewers. He also has a number of graphics in 

dry point, etching, lithograph and linocut. 

Apart from neo-Bengal works, there are Bagchi’s paintings on canvas in oil that conjure up remembrance 

of European paintings. From these works one can fathom the catholicity of his temperament and taste. 

His series of portraits and landscapes in oil speak of various Western schoolings that he was attracted 

to. He had searched for a technique that could accommodate an Indian theme and content in a 

Western format. The love-hate relationship towards an intriguing culture during British imperialist times 

also explains the strange variety of his style. His painterly attitude reveals the depth of the spiritual crisis 

that Indians of that period endured. Radha Charan had confessed his debt to Nandalal Bose, but beyond 

that he himself had tried to discover the real roots of human feeling and expression. 

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RADHA CHARAN BAGCHI - ‘’Bhubaneswar 

Temple’’, Tempera on paper, 35 x 28 inches. 

RADHA CHARAN BAGCHI - Ekalavya’s Guru 

Dakshina, Tempera on paper, 39 x 26 inches.


SUNIL MADHAV SEN 

(1910 - 1979) 

Sunil Madhav Sen was born in 1910, in Purulia District, West Bengal. He was self-taught as an artist and a 

lawyer by profession. As a founder member of the Calcutta Group, Sen was one of the architects of the 

contemporary art movement in India. His search for a modernist language in art, led him to experiment 

with both Western and indigenous styles, and eventually develop his own creative idiom. 

He received inspiring support from Atul Bose and Satish Sinha, both renowned for their academic realist 

practice. He frequently visited the studios of Abanindranath Tagore and received encouragement from 

him. Despite his occasional rendezvous with nature, it is the human body to which Sen gave maximum 

attention. The painter always had a great fascination for folk art. The impact of folk art on Sen’s practice 

came through his contact with Jamini Roy. The result of this can be seen in his paintings, when the iconic 

frontality of his figures and the basic simplicity of forms would indicate a distinctly individual reference 

to folk practices. It was his love for the folk and the traditional art and sculptures that inspired him to 

experiment a lot. 

Sen used the impasto technique widely. He made various sculptural images on canvas and hard boards. 

He stuck stone chips on them with glue, and then gives it a coat of paint to get a desired sculptural 

effect. Some of his works exude a sculptural quality, and some conceptualisations reflect a startlingly 

radical ‘modernity’. 

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SUNIL MADHAV SEN - Untitled, Mixed media 

on paper, 22 x 11 inches. 

SUNIL MADHAV SEN - Untitled, Mixed media 

on paper, 27 x 17 inches.


MRINAL KANTI DAS 

(b.1928 - 1990) 

Mrinal Kanti Das was born in Midnapore town, West Bengal in 1928. His father Hemanta Kumar Das 

encouraged and nurtured his artistic talents. After finishing school, he studied at the Government College 

of Art and Craft, Calcutta and graduated in 1948. In Santiniketan, he was able to forge an intimacy with 

Binod Behari Mukherjee and Ramkinkar Baij. He was a shy man who abhorred the limelight. 

Das was a prolific painter. In art school, he was deeply influenced by his mentor Nandolal Bose’s disciple 

Satyendranath Banerjee. The other teacher who left a lasting impression on Mrinal Kanti’s mind was 

Basanta Ganguly. Ganguly was a master of oils and taught Mrinal kanti to observe life and nature and to 

recreate it vividly with the brush. 

As a painter Mrinal Kanti served the neo-Indian School that Abanindranath Tagore had founded. Das’s 

media were mostly wash, opaque and transparent watercolours, mixed media, ink and brush or pen. 

He never overtly referred to Ajanta or medieval miniatures, yet much of the tradition is operative. His 

pictorial language has found visual correlatives for the exuberance of nature and people. He portrayed 

women in a variety of moods and postures. Sensitive use of raw and subdued hues and geometrical 

arrangements of his composition focus attention on formal qualities which are purely pictorial and 

graphic. This deliberate execution of reality and imagination marks him out as a significant painter of his 

time. 

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MRINAL KANTI DAS - Untitled / 1968, 

Wash on paper, 22 x 13 inches. 

MRINAL KANTI DAS - Untitled / 1974, Mixed media on paper, 11 x 18 

inches.


AMINA AHMED KAR 

(b.1930) 

Amina Ahmed Kar was born in Calcutta in 1930. She began her artistic training at the Government 

College of Art and Craft, Calcutta before joining the Art Department of the Delhi Polytechnic. She 

completed her post graduate studies in France at the Academic Julian. Later she worked at Hayter’s 

Printmaking Studio and also worked with Ceasar Domela, a founder of ‘De Stijl’ group, Holland. She 

did a course in Greco-Roman art and received her diploma from the Institute of Art and Archeology, 

University of Paris. She then took a course in Art History at Ecole Du Louvre, specializing in the art and 

Archeology of India and the Indian influence in South East and East Asia. Finally she received another 

diploma from the Ecole Pratique des Hautes Etudes at Sorbonne. 

Amina trained under Ceasar Domela, one of the foremost abstract painters of 20th Century and learnt 

the finer points of non-figurative expression and geometric composition. She painted, researched, wrote 

papers and lectured on art with great intensity and scholarly authority. 

She married famous sculptor Chintamoni Kar. The experience of giving birth to a child with impaired 

brains broke the spirit of Amina. She retired from the art world and retreated into the anonymity of 

the home, spending rest of her life as a home-maker. Till her death she did not come out of seclusion 

to resume a truly promising career as an artist. 

Some of Amina’s works are non-figurative; structures within shapes are exposed with verve and skill 

while in others there are remnants of figurative embedded in the surface. In her paintings the application 

of lines and colours build an overwhelming visual experience. Fragments of dreams, past memories and 

her experience of everyday happenings have uttered in her works. 

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AMINA AHMED KAR – Untitled, Watercolour on 

paper, 13 x 10 inches. 

AMINA AHMED KAR – Untitled, Watercolour on 

paper, 14 x 10 inches.

LATITUDE 28 

K. G. Subramanyan 

Jogen Chowdhury 

Baiju Parthan 

G. R. Iranna 

Manjunath Kamath 

Rajesh Ram 

Dilip Chobisa 

Siddhartha Kararwal 

Shivani Aggarwal 

ART GALLERY | LATITUDE 28 

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LATITUDE 28 is a creative venture by Bhavna Kakar, a specialist in pre-modern art history with more 

than a decade’s experience as a curator, writer, and art consultant. Bhavna is also the founder and editor 

of the national award-winning art quarterly, TAKE on art (www.takeonartmagazine.com). 

The gallery is located in New Delhi’s dynamic art district of Lado Sarai and the name is itself a nod 

to the capital’s geographic position on the globe - with India becoming an ever- expanding player in 

the global art arena, and Delhi at the leading edge of that movement. The brand aims to cultivate a 

holistic environment that introduces collectors to emerging talents who probe the creative and material 

boundaries of their art practices through greater interaction and experimentation. 

The primary vision is to further artists’ careers by supporting the production and presentation of 

their works in stimulating collections. The shows conceived and presented by LATITUDE 28 focus on 

a grounded and innovative curatorial strategy. The point is not simply to showcase, but to foster an 

expansive discourse between artist and viewer. LATITUDE 28 represents contemporary Indian art not 

only through eclectic exhibitions in the white cube of its distinctive gallery space, but also by supporting 

residencies and the organization of outreach programs, seminars, and talks. 

Since the gallery’s establishment, a wide range of dynamic young artists as well as established masters 

have been exhibited. The collection of shows includes: ‘Veer Munshi: Shrapnel, The Chamber + Pandit 

Houses’, curated by Ranjit Hoskote; ‘Slipping through the Cracks’, curated by Meera Menezes; ‘And the 

Falchion Passed Through his Neck...’, curated by Jasmine Wahi;‘Anupam Sud: Preparatory Assertions - 

Notes from Sketch Books’; ‘In You is the Illusion of Each Day’, curated by Maya Kovskaya; ‘Love is a 4 

Letter Word’; ‘The Pill’, curated by Avni Doshi; ‘Nandita Kumar: LeT tHe BRAinFly’; ‘Sujith SN: Map is 

Not the Territory’ (Sujith SN was among the 20 shortlisted artists for The Skoda Award 2010); ‘Urban 

Testimonies’; and ‘Size Matters or Does It? I and II’, curated by Bhavna Kakar. LATITUDE 28 has also 

exhibited in Indian as well as International art fairs, including India Art Fair 2012; Solo booth of Rajesh 

Ram @ Art Stage Singapore 2011; India Art Summit 2009 and 2011; Art Expo 2009 (Mumbai). Some 

of the forthcoming shows to be presented by the gallery are: ‘Vasudha Thozur: Party Plot’ and a solo 

exhibition of recent works by Prajakta Palav Aher at Asia One, Art HK 12.


K. G. SUBRAMANYAN 

(b.1924) 

K.G. Subramanyan is among the few artists who have explored the possibilities of modern art from 

a different perspective, giving new dimensions to the human figure by making them appear more as 

characters from various myths and traditional narratives, populating a composition quite the contrary. 

As an artist he is extraordinarily versatile, cherishing the facility to work in diverse media, sizes, and 

techniques over a stylistic conformity to a single medium, genre, size, technique, and manner of 

visualization. 

A prolific writer, scholar, teacher and art historian, Subramanyan uses his in-depth knowledge of various 

artistic traditions to create fantastical images of wit and eroticism that are universal in their appeal, 

yet coupled with iconic symbols drawn from Indian legends and folklore. Subramanyan has time and 

again aimed at blurring the boundaries between art and the artisan. The artist has also dabbled in glass 

painting and toy making, even weaving, which is generally considered ‘artisanal’. Even in his written works, 

the exploration of art as a language or means of communication is a recurring theme. Subramanyan has 

also illustrated as well as authored fiction for children. 

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K. G. SUBRAMANYAN – Goats in Eden, Watercolour on board 

and varnished, 23.6 x 17.7 inches.


JOGEN CHOWDHURY 

(b.1939) 

A revered painter and a master, Jogen Chowdhury’s works are immediately recognizable for their 

cross-hatched, weathered subjects. His expressionistic style of painting, captures in his subject matter 

the circumstances and sentiments that draw the strings of their existence. Dabbling in the anti-aesthetic, 

with distortion and his unique use of lines, he conjures this characteristic style which emotes the trauma, 

hopes, dreams and subjective beauty. The pathos of tragic comedy defines his works. Born in a village 

near Kotaliparha, now Bangladesh, themes of exile, nostalgia and yearning are sub-textual suggestions 

that have persisted in his works over time. From his earlier landscapes to later portraits, his style has 

been influenced by the investment in detail often observed in the Kalighat pats, whether the scale of his 

works are small or large. The artist lives and works in Santiniketan, West Bengal. 

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JOGEN CHOWDHURY – Untitled / 2011, Mixed media on 

paper, 5 x 5.5 inches.

MYTHOLOGY 

BAIJU PARTHAN 

(b.1956) 


Baiju Parthan is considered to be an important new media art pioneer within the Indian contemporary 

art context. Parthan worked as an engineer initially and his initiation into the world of art started with 

a chance encounter with an Art History book. Following this, pursuing his interest he moved to Goa to 

pursue his Bachelor’s degree in Fine Arts from the Goa College of Arts. Here the alternative lifestyle 

and culture of the place inspired him, as did his readings in Philosophy and mythology. He also pursued 

these subjects academically at the University of Bombay. 

His eclectic background is what characteristically defines Baiju Parthan’s works. Informed by mythology 

and technology, his works capture an interstice between the two, a crisis of tradition and technology 

manifesting in a unique blend of the two, and how they complement each other. It was possibly his 

aptitude for science that allowed him to be one of the first artists in the country to pick up on 

the enveloping influence of cyberspace and the digital realm on social realities, incorporating these 

elements in his work. This knowingness probably enabled him to cross over from painting to experiment 

with more innovative mediums such as material that allowed for magnetic fields to dictate the formal 

elements of his work and more interactive, programming-based art. 

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BAIJU PARTHAN – Truth Serum-1 / 2011, Acrylic on Arches 

paper, 33 x 20 inches.

G. R. IRANNA 

(b.1970) 

G. R. IRANNA – Green Land / 2011, Acrylic on Tarpaulin, 66 x 104 inches. 

GR Iranna is amongst the set of contemporary Indian artists whose prolific lineage of solo exhibitions 

has established and deepened the premise of his aesthetic query and with each growing step, reformed 

and moulded the visual means of doing so. Iranna has consistently employed the device of symbolic 

representation, directly in his sculptures and canvasses to comment on the system of institutionalised 

violence and aggression within human civilizations and offered the alternate idea of resistance. More 

than questioning the ‘absurdity’ of life, his oeuvre instills the idea of meaning and purpose in human life 

through the quality of visual serenity inherent in the pictorial surface. 

Born in 1970 in Karnataka, Iranna obtained his B.F.A. from the College of Visual Arts in Gulbarga and 

M.F.A. from Delhi College of Art. Iranna is a recipient of the National Academy award in 1997 and the 

M.F.Husain and Ram Kumar award. He has also been nominated from India for the ABPF Signature Art 

Prize 08, Singapore. 

The artist lives and works in New Delhi. 


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MANJUNATH KAMATH – 

Yes it’s all Mine, Archival print. 

MANJUNATH KAMATH 

(b.1972) 

Manjunath Kamath tells stories with his images. His narratives, however, are altered and adjusted 

constantly, adapting fluidly according to the environment they are narrated in, and resulting in a different 

meaning each time a story is told. As a visual artist, Kamath feels impelled to regularly reinvent his 

method of storytelling. By relentlessly working on his articulation and modernizing his techniques, the 

artist continuously updates his visual vocabulary. 

The artist’s need to draw and hold his viewers’ attention is palpable in his varied use of painting, drawing, 

sculpture and video. With the help of these disparate genres he creates narratives that are gripping 

in content, even though they are composed of simple, commonplace elements. Thus Kamath’s forte 

ultimately lies in creating fantasies out of the ordinary.

RAJESH RAM 

RAJESH RAM – Untitled / 2012, Fiberglass and Cloth, 12 x 14 x 21 inches 

(Sculpture), 51 x 24 x 14 inches (Display with cloth). 


Rajesh Ram is a young artist based in New Delhi practicing both as painter and sculptor using a strong 

visual vocabulary that builds on pointed references. The artist comes from rural suburbs of India and 

through use of a vibrant palette and forms, he readily refers to the visual repertoires which are signifier 

of a social belief, time and class in the Indian urban-rural space. Ram’s work reminds us that words 

are not merely modes and tools of communication; rather they contain within them the histories of 

societies and the construction, projection and reading of identities. Rajesh is not one to cloak the world 

in despair, he points gently, beautifully, imaginatively towards situations. His art is heroic, true, but it does 

not valorize his subjects’ suffering, which can have disturbing ideological undertones. What it does is 

show reality in all its honesty, despair but also beauty and gives us the simple path towards betterment. 

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DILIP CHOBISA 

(b.1978) 

DILIP CHOBISA – Untitled / 2011, Graphite on paper, painted wooden frame 

and glass, 24 x 24 inches. 

Primarily trained as a sculptor, Dilip refuses to walk the lines of conventional or academic sculpture 

making, yet his works are all about volumes, spaces and depths. His art works are intriguing, and one 

cannot help but notice the strategically minimalist attitude in his works. The art works strike a balance 

between aesthetic experiences and the rigor behind the process of creation, which results in a pleasant 

equilibrium between response and communication. Dilip is an artist who strongly emphasizes on his 

experiments with the materials he works with. One who is familiar with his art works would notice 

that he walks the fine line between the peripheries of coplanar images and reliefs. They appear two 

dimensional but not quite, that is they are fairly illusionary, they can somehow make the viewer believe 

that the spaces in his works are actually three dimensional.

SIDDHARTHA 

KARARWAL 

(b.1984) 


SIDDHARTHA KARARWAL– Funny bone / 2012, Woolen sweaters and mugs, 12 x 12 inches. 

Siddhartha Kararwal’s creative practice revolves around the use of everyday, mundane materials. Plastic 

bags, foam sheets, firecrackers, cardboard, bronze, iron, copper, fibre, clay, plaster of paris, etc., mould 

themselves into seductively raw sculptures. In a state of dichotomy, Siddartha Kararwal probes the 

existential core vis-a-vis his space and the tangible materials that constitute it. The artist stimulates 

visual assimilation through a body of work that sprouts out of polemics arising from the privilege of an 

embodied experience. 

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SHIVANI AGGARWAL – Untitled, Acrylic on canvas, 12 x 12 inches (diptych). 

SHIVANI AGGARWAL 

(1975) 

Shivani Aggarwal’s practice primarily started with the concept of layering. Her images dealt with the 

construction of an identity through clothes (a layer on the skin). How we layer ourselves in these societal 

norms, conventions and get accustomed to it is what Shivani’s work primarily deals with. These layers 

expresse the social, cultural and gender beliefs, which have been woven into the fabric of our minds. 

She is currently involved with images of ‘the rose’ where it becomes a metaphor for the self, memories, 

situations, or simply an object for discussion, which is being constantly constructed or deconstructed 

like a fabric. Threads, needles, scissors and numerous other elements related to sewing and knitting find 

way in her visual language.

Rohini Devasher 

M. Pravat 

ManilRohit 

ART GALLERY | NATURE MORTE 

NATURE MORTE 

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Nature Morte was started by Peter Nagy in New York’s East Village in 1982, where it continued until 

1988. In 1997, Nagy resurrected the gallery in New Delhi and since then it has become one of India’s 

leading galleries, focusing on art forms in a wide variety of mediums and participating in many of the 

world’s top art fairs. The gallery represents some of India’s best known contemporary artists, many of 

whom have gone on to international prominence, including Subodh Gupta, Dayanita Singh, Anita Dube, 

Bharti Kher, Raqs Media Collective, Mithu Sen, Thukral & Tagra and Sheba Chhachhi. Located in central 

South Delhi, the gallery opened a branch in Berlin in 2008 and a branch in the Oberoi Gurgaon hotel 

in 2011.

ROHINI DEVASHER – Colony / 2011, Mixed media on 



ROHINI DEVASHER 

(b. 1978) 

ROHINI DEVASHER – Proteus / 2011, Mixed media on 


Rohini Devasher (born 1978) explores the intersection of various branches of science in her art. Biology, 

astronomy and quantum mechanics come together in her delicately rendered works on paper, 

which fuse photography, drawing and painting. Rohini Devasher lives and works in New Delhi. She 

received her MFA in Printmaking from the Winchester School of Art in the UK and her BFA from the 

College of Art in New Delhi. Solo shows of her works have been mounted at Project 88 in Mumbai in 

2009 and Nature Morte in New Delhi in 2011. She was awarded a Khoj International Arts & Sciences 

Residency, as well the INLAKS Fine Art Award and a Sarai Associate Fellowship. Her works have been 

included in group shows at Nature Morte Berlin, Vadhera Gallery in New Delhi, Green Cardamon and 

the British Library in London, and the Royal Scottish Academy in Edinburgh. 

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M. PRAVAT 

(b. 1972) 

M. PRAVAT– Landscape Painting / 2011, Mixed media on canvas, 78 x 72 inches. 

M. Pravat (born 1972) creates large-scale paintings that borrow from the languages of architecture, 

engineering and digital-imagery. His works explore a process of being “under construction,” perhaps alluding 

to something more that remains unrealized. M. Pravat lives and works in New Delhi. He received 

both his BFA and MFA degrees from the Faculty of Fine Arts, M.S. University, Baroda. He has had solo 

shows at both Anant Art Gallery and Nature Morte in New Delhi and was the recipient of a Pro Helvetia 

Artist Residency in Switzerland in 2010.

MANILROHIT 

(1978 & 1985) 

MANILROHIT– Elephant Juice / 2011, Acrylic on canvas, 72 x 72 inches. 


ManilRohit are two brothers from New Delhi who work collaboratively (Manil Gupta, born 1978 and 

Rohit Gupta, born 1985). The iconography of their paintings is sourced from popular culture: graffiti, 

comics, packaging and animation. They employ multiple techniques in a single canvas, creating hysterical 

amalgams of painterly surfaces that swallow up a wide variety of imagery. Living and working in New 

Delhi, Manil received his BFA in Applied Art from Delhi College of Art while Rohit received a BA in 

English from Delhi University and later concentrated on photography. 

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ART GALLERY | OPEN EYED DREAMS 

OPEN EYED DREAMS 

N N Rimzon 

Rajan Krishnan 

Zakkir Hussain 

Abir Karmakar 

Sachin George Sebastian



Open Eyed Dreams, a premier art promotion venture, was launched by Dilip Narayanan in 2002. The 

initiative that began with a collection from eight artists has today a growing portfolio claiming exclusive 

representation from over 40 eminent artists in the country. It has held six major shows and a National 

Art Meet in Kerala. More exhibitions, tours and camps are scheduled running up to 2009. The objective: 

Promote art and artists, going beyond regional borders. 

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N. N. RIMZON 

(b. 1957) 

Rimzon was born in Kakkoor, Kerala in 1957. After a B.A. in Sculpture from the College of Fine Arts, 

Trivandrum, 1982 he did his M.A. in sculpture at M. S. University, Baroda (1 984). The leftist and radical 

background in Kerala and the socio- political strife at the time of the Emergency shaped his sensibilities 

along with an awareness of disrupted traditional inheritance locally with its diverse ramifications as well 

as on the plane of received modernism and current international trends. Inspired by Ramkinker Baij and 

directly, German realist and expressionist figuration of the day, he did exaggeratedly naturalistic and then 

distorted figures of human vulnerability and disabling entrapment in wider situations. In 1989 Rimzon 

obtained an M.A. with distinction from the Royal College of Art, London where he studied on an In 

lakhs scholarship, after which he moved to New Delhi permanently. 

His idiom has imbibed in a unique manner elements of the Conceptual and Minimalist attitudes through 

which he pares down archetypal imagery in order to reach the core of things, rudimentary states and 

fine qualities of humanism. This allows for his basic shapes to induce multifarious associations, apparently 

opposing or unrelated, but eventually disclosing or rather indicating a reconstruction of meaning 

and values. Steering his sculptures arranged in an installation-like space and stimulated by discontinuities, 

suggestiveness and contradictions of size, colour, setting etc. he directs the viewer to a complex 

experience of his imagining mingled with that of the artist. He relies on indigenous classic art forms of 

aesthetic emotive and symbolic nature, along with personal, contemporary, even utilitarian ones. The 

approach is essentially post-modernist as well as essentially Indian at a time of cultural and social transition. 

His main motifs repeat in related configurations, their meaning dependent on context and titles’ 

suggestion. Rimzon’s later work rooted in specific classic forms, have a greater simplicity and immediate 

power. The Tirthankara-like figure of austerity and spiritual purity placed in a cosmic circle of swords or 

tools evokes the eternal duality of violence and materiality contra human aspirations. The earthen pot 

contains creative water as the mother and the fertile woman violated by a weapon or charged with energy, 

but it can also serve to denote the self and the practice of untouchability. The other steady motifs 

are the egg and the lover couple the generative forces and the house of sheltering and of the sacred.

N. N. RIMZON – House under the stars, Charcoal on 



N. N. RIMZON – Pond at the forest, Charcoal on 


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RAJAN KRISHNAN – Memory / 2009, Acrylic on canvas, 108 x 72 inches. 

RAJAN KRISHNAN 

(b. 1967) 

Rajan Krishnan was born in 1967, in the Thrissur district of Kerala. Having completed a Bachelor`s degree 

in Economics, Krishnan decided to pursue his true love and signed up for a B.F.A (Painting) at the 

College of Fine Arts, Thiruvananthapuram. He then went on to pursue a Master`s degree at the Faculty 

of Fine Arts, M.S. University, Baroda. Rajan Krishnan`s art is very sensitive to his immediate natural environment. 

The fields and villages of the Kerala of his youth play the role of `principal protagonist` in most 

of his works, expressing his deepest aesthetic proclivities. His early works are slightly sentimental in their 

depiction of childhood memories of home, but this phase seems to have given way to a more assertive 

cynicism that unflinchingly records the sudden and sweeping changes wrought on the landscapes he 

has known and loved.

ZAKKIR HUSSAIN – Untitled, Mix media on paper, 96 x 36 inches. 


ZAKKIR HUSSAIN 

(b. 1970) 

Born 1970 in Kerala Zakkir Hussain passed his Bachelor’s Degree in painting from the College of Fine 

Arts in Trivandrum and Master’s Degree in graphics from the MSU at Vadodara. He taught for a while at 

the Art College in the city before turning full time to his art practice. The artist’s sensitive portrayal of 

contemporary urban milieu with juxtaposition of banal and somewhat unrelated imagery gives his work 

a different meaning and its special appeal. His detailed drawings and paintings adorn a touch of fantasy 

and fun with subtle undercurrents of uncaring society, politics of religion and resulting violence. His 

hybrid figuration in partly human and partly animal creations presents an interesting interface between 

the binaries of animate versus inanimate and personal versus public in the narratives as enacted in fine 

palette and meticulously executed canvases or paper works. Zakkir’s work has been shown in several 

solo and group shows in leading galleries in different part of the world including Kochi, Bangalore, Mumbai, 

Delhi and New York. Zakkir lives in Kochi and works from his studio in the city. 

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ABIR KARMAKAR – Scent II / 2011, Oil on canvas, 48 x 72 inches. 

ABIR KARMAKAR 

(b. 1977) 

Born in 1977 Abir Karmakar completed his graduation from Rabindra Bharati Universtiy, Kolkata and 

his Masters from Faculty of Fine Arts, M.S. University, Baroda. In Karmakar’s work, the hired model is 

replaced by the image of the artist himself and thereby providing an interesting twist. The artist uses 

the language of the media and billboard advertisements, both visually and contextually. Abir has shown 

widely in India and abroad.


SACHIN GEORGE 

SEBASTIAN 

(b. 1985) 

SACHIN GEORGE SEBASTIAN – Metropolis & city planners / 2010, Paper collage, 27 x 24 inches, (Set of 3). 

Soon after my graduation, I came across a pop up book at a house of used bookstore in Bangalore. 

That is when I felt, the need to translate ideas through it. Simplicity in paper as a medium, and geometry 

as the tool fell perfectly into place. So I started exploring the idea, I could not have done this in a fixed 

job, so I started freelancing. This left me with enough time to learn the art of paper engineering. Within 

two years I grasped on paper engineering and found a publisher to fund my books as well. But soon 

the need to do more, reach the core of the substances started distracting me. The want to explore the 

medium, its properties and applications beyond the two spreads of a book started coming to my mind. 

So I kept exploring till I achieved what you see today – ‘A narrative in multiple layers of paper.’ 

While I was still exploring ideas and doing freelance work – I came across Khoj and was offered an 

artist residency there. It was a great learning experience that led me to another thought process from 

which, ‘metropolis and city-planners’ were conceived, I had not much information on what art was, but 

only an expression of dreamers. Only after this experience I realised that many things that I have been 

doing for years are nothing else but narratives of a dreamer in me, which is termed as aesthetics sense 

or arts, it was this vast and new door that opened for me and soon after, just a year from there, I got 

to exhibit my first expression in public. 

My works are result of the collision between things I love (nature, organic beauty etc.) and the things 

I resent (industrialization, concrete cityscape with sharp corners and wires running all around blocking 

the skylines etc.) The collision brings certain common patterns, a cross-reference that acts as my 

inspiration. 

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ART GALLERY | PROJECT 88 

PROJECT 88 

Sandeep Mukherjee 

Shreyas Karle



Project 88 was established in downtown Mumbai in 2006 by Sree Goswami. The 4000 square feet 

gallery is housed in a century old metal printing press. The gallery supports emerging and established 

artists in long-term relationships to facilitate understanding and awareness of their continually evolving 

practices in India and in international venues. 

Project 88 works with a generation of emerging artists within India who are making innovative, experimental 

and ambitious works in all media and modes within a conceptual framework. In a span of five 

years, the gallery has evolved along with these artists, adding important mid-career artists from the 

region and abroad, on the strength of it’s committed programme. 

Exhibitions over the years have included solos by the Raqs Media Collective, Bani Abidi, Sarnath Baner- 

jee, Hemali Bhuta, Baptist Coelho, Rohini Devasher, and Bharti Kher among others. Project 88 has also 

put up several curated group exhibitions with Japanese, Central Asian and emerging artists. Last year’s 

line up included solos by US based artist Sandeep Mukherjee and Pakistan based Huma Mulji. Project 

88 commenced 2012 with major solo of The Otolith Group, supplemented by public film screenings 

and discussions prior to the India Art Fair 2012 in January. This will be followed by a solo by Pakistan 

based Asma Mundrawala. 

Project 88 has taken part in several international art fairs such as Hong Kong International Art Fair 

(2008), Arco Madrid (2009), Art Dubai (2009), and India Art Summit (2009). The gallery took part in 

the “Frame” section of Frieze Art Fair in London in October 2009 and was the only Indian gallery to be 

selected for this prestigious art fair that year (the second Indian gallery since the inception of the fair). 

The gallery presented a solo project of Sarnath Banerjee in the booth and Neha Choksi in the sculpture 

park. This was followed by participation in the Hong Kong International Art Fair in 2010, with a two 

person show comprising works by Rohini Devasher and Huma Mulji. 2011 was an important year for 

Project 88, as it was the first time that the gallery was selected to be part of the main section at the 

Hong Kong International Art Fair and Frieze, London. Apart from these two important fairs, the gallery 

also participated in India Art Summit, New Delhi and Fiac – International Contemporary Art Fair, Paris. 

Many of its artists are in major international collections, biennales, and museum shows. 

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SANDEEP MUKHERJEE – Untitled / 2011, Acrylic, 

acrylic ink & embossed drawing on duralene, 60 x 66 

inches (each). 

SANDEEP MUKHERJEE 

Sandeep Mukherjee received a B. F. A. from Otis College of Art and Design (Los Angeles) and an 

M. F. A. from UCLA. He has had solo exhibitions at Sister and Cottage Home (Los Angeles), at the 

Margo Leavin Gallery (Los Angeles), at Brennan and Griffin (New York), at Nature Morte Gallery 

(New Delhi) and the Pomona College Museum of Art (Claremont, CA). Group exhibitions include the 

Museum of Contemporary (Los Angeles), the UCLA Hammer Museum (Los Angeles) and the Wattis 

Institute for Contemporary Arts (San Francisco). 

His work is in the permanent collections of the Museum of Contemporary Art (Los Angeles), the 

Museum of Modern Art (New York), the Los Angeles County Museum of Art, the UCLA Hammer 

Museum (Los Angeles) among others. Mukherjee is represented by Brennan and Griffin, New York and 

Project 88, Mumbai. 

He currently lives and works in Los Angeles. 

SANDEEP MUKHERJEE – Untitled / 2011, Acrylic, 

acrylic ink & embossed drawing on duralene, 60 x 66 

inches (each).

SHREYAS KARLE 

(b. 1981) 

SHREYAS KARLE – Kala Ajooba – Living Legend / 2008, Archival print waterford paper. 


Shreyas Karle (born in 1981) received his MVA Part II (Painting) at the MS University, Baroda, 2008. He 

completed his diploma in Fine Arts (Painting) from LS Raheja School of Art, Mumbai, 2002. 

Karle ki koshish was Shreyas’s first solo show collaborated by Project 88 and Pundole Art Gallery, 

Mumbai, 2010. He has participated in several group shows including Keep Drawing, Gallery Espace, 

Delhi, 2008, Recent Works at Project88, Mumbai, 2008 and EVERYTHING, curated by Krishnamachari 

Bose, Amsterdam, 2008. His work was a part of a curated show by Lalit Kala Akademi in Vietnam under 

the Cultural Ministry of India and Vietnam, as well as Caturday is a Cleaning Day curated by Gitanjali 

Dang at ‘The Loft’, Mumbai, 2009. 

Shreyas Karle was a resident artist at Montalvo Arts Center- Saratoga (California) with fellow artist 

Hemali Bhuta. He was also a part of Bengaluru Artist Residency –one (Bar1) in 2008. He is working as a 

co-coordinator for SANDRABH (site specific residencies), and will be a part of the ESSL museum show 

for young Indian contemporary artist, Vienna, 2010. He will also be part of the Kochi Biennale, 2012. 

The artist currently resides and works in Mumbai. 

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ART GALLERY | THE GUILD 

THE GUILD 

K. G. Subramanyan 

Sudhir Patwardhan 

Ravi Agarwal 

Baiju Parthan 

T.V. Santhosh 

Riyas Komu 

K. P. Reji 

Vidya Kamat



Established in late 1997, The Guild opened in a small space in the city of Mumbai and over the years 

moved to different locations within the city, currently having expanded exhibition space in an old building 

with high ceilings, within the Mumbai Art District, having other contemporary art galleries nearby. 

In 2006 The Guild opened a space in New York (closed in 2011) expanding programme to show works 

of artists from the Diaspora and other South Asian Regions. 

The focus of the gallery has been to discover and promote young emerging artists, to provide a platform 

for discursive practices, innovative ideas and to promote the represented artists at international level, 

through various collaborations, art fairs, institutional shows, Biennales and Museums exhibitions. Many 

of our represented artists have been shown at Biennales, Museums, educational institutes and other 

international galleries. 

We continue to believe in using non-conventional ideas and semi institutional role in creating greater 

awareness regarding the process of creation. The Guild has been conducting an annual workshop, each 

time in a different mode, inviting artists, curators, art critics, writers, and performance artists, to set 

up studio in the gallery for the workshop period and have interactive sessions with audiences, other 

artist colleagues and art professionals. This has generated a lot of interest, also allowing the gallery 

team to spend considerable time with artists and art professionals, enriching the process of art making, 

stimulating intellectual debates, ideas, and creating a hotbed for discussions amongst the participants. 

The Gallery has published 6 books and many catalogues, accompanying the shows, by distinguished art 

critics and writers. A recent publication being on Navjot Altaf’s project residency at New York, which 

resulted in an important anthropological document interviewing about 65 inhabitants of New York, 

regarding their life, migration and feelings about New York city. 

Many of the artists represented by The Guild have participated in significant shows such as at Tate Modern, 

Astrup Fearnley Museum of Modern Art, Oslo, Herning Kunstmuseum, Herning, Denmark, MAXXI 

National Museum, Rome, Zacheta National Gallery, Warsaw, Newark Museum, Centre Pompidou, Frost 

Art Museum, Florida, The Fourth Moscow Biennale, Venice Biennale, Musee d’arte Contemporain de 

Lyon, France, Sydney Biennale, Australia. These artists have also been critically acclaimed in various art 

journals, magazines and newspapers. 

Since 2010, the gallery has also been actively interested in introducing international artists to Indian 

audience and also at art fairs,some of them being, Charwei Tsai from Taiwan (solo), Shadi Ghadirian from 

Iran(solo), amongst the curated shows, Shirin Neshat, Barbad Golshiri, Farideh Lashai, Mitra Tabrizian, 

Johan Grimonprez, Renata Poljak, Raed Yasin, Munira Al Solh, Khaled Hafez, amongst others. 

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K. G. SUBRAMANYAN 

(b. 1924) 

Painter, sculptor, muralist, K G Subramanyan was born in a village in north Kerala in 1924. While studying 

economics at Presidency College, Madras, Subramanyan became involved in the freedom struggle. He 

was imprisoned and debarred from government colleges. The turning point of his life came when he 

joined Kala Bhavan at Visva Bharati in Santiniketan in 1944. He studied at Kala Bhavan till 1948. Between 

1951 and 1959, Subramanyan was a lecturer in painting at the Faculty of Fine Arts in Baroda. During 

1955 and 1956, he went to the Slade School of Art in London to study as a British Council research 

scholar. From 1959 to 1961, Subramanyan was deputy director (design) at All India Handloom Board. 

Bombay. He continued to be a design consultant till 1966. He went back to Baroda as reader in painting 

between 1961 and 1965. From 1966 to 1980; Subramanyan was professor of painting at Baroda. He 

went to New York as J D Rockefeller 111 fellow during 1966 and 1967. From 1968 to 1974, he acted 

as the dean of the faculty of fine arts, Baroda. In 1975 and 1976, he attended World Craft council meets 

as a delegate. In 1976, he was a visiting lecturer at various Canadian Universities. In 1980 Subramanyan 

moved back to Santiniketan and till 1989 was professor of painting at Kala Bhavan. During 1987 and 

1988 ‘ he lived at Oxford as Christensen Fellow in St. Catherine’s College. In 1989, he was appointed 

professor emeritus at Kala Bhavan, Visva Bharati. 

A theoretician and art historian, Subramanyan has written extensively on Indian art. His writings have 

formed a foundation for the study of contemporary Indian art. He has also written some delightful 

fables for children and illustrated them. A man of multifaceted talents, Subramanyan demolished banners 

between artist and artisan. He experimented with weaving and toy making. He also reinvested 

several mediums earlier used in Indian art. For example, the terracotta mural and glass painting found 

a new lease of life with his experiments.The artist gave the human figure a new dimension. Drawing 

upon the rich resources of myth, memory and tradition, Subramanyan tempers romanticism with wit 

and eroticism. He has received the Kalidas Samman in 1981, the Padma Shree in 1975, a D. Litt. (Honoris 

Causa) from the Rabindra Bharati University, Calcutta in 1992 and became a Fellow of Kerala Lalit Kala 

Akademi in 1993. 

K.G. Subramanyan is a major presence on the Indian art scene. His flexibility of expression and richness 

of visual language evolve from the diverse materials he works with as painter, muralist, printmaker, 

relief-sculptor and designer. In his recent work Subramanyan uses many registers of language to slide 

from high seriousness to irony, celebration to subversion, descriptive rendering to lyrical evocation, fact 

to metaphor, and from real to surreal with the ingenuity of a consummate craftsman and the alertness 

of a nimble thinker. 

The book “The Painted platters” by Professor R. Siva Kumar, published by The Guild, takes us on a 

special journey into K.G. Subramanyan’s series of work called saras (a genre of ritualistic art within Bengal’s 

folk art), documenting and celebrating them.

K. G. SUBRAMANYAN – Untitled / 1924, Gouache on paper, 10.5 x 9.5 inches. 


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SUDHIR 

PATWARDHAN 

(b. 1949) 

Born in Pune, Sudhir graduated in medicine from the Armed Forces Medical College, Pune. He moved 

to Mumbai in 1973 after graduation and worked as a Radiologist in Thane from 1975 to 2005. 

His first one person show was held by Ebrahim Alkazi’s Art Heritage in New Delhi in 1979. Since 

then his work has been seen regularly in exhibitions in India and abroad. A monograph on his work, 

written by Ranjit Hoskote, was published in 2004. This was followed in 2007 by a book on Patwardhan’s 

drawings. A monograph in Marathi, written by Padmakar Kulkarni was published in 2005. In 2008- 

2009 Patwardhan curated an exhibition of Indian Contemporary Art ‘Vistarnari Kshitije’ / ‘Expanding 

Horizons’ which travelled to eight cities in Maharashtra. 

Patwardhan’s works are in the permanent collection of National gallery of Modern Art, New Delhi 

and Mumbai; Roopankar Museum, Bhopal; Jehangir Nicholson Collection, Mumbai; the Peabody Essex 

Museum, Salem, USA and other prominent private and public collections. 

The artist lives and works in Thane, near Mumbai.

SUDHIR PATWARDHAN – Woman in Crowd-II / 2011, Acrylic on handmade paper, 

42 x 54 inches. 


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RAVI AGARWAL 

Ravi Agarwal is a photographer artist, writer, curator and environmental activist. He explores issues of 

urban space, ecology, capital in an interrelated ways working with photographs, video, performance, 

on-site installations and public art. 

Agarwal has participated in several international shows including Documenta XI (Kassel 2002), ‘Horn 

Please,’ Kunstmuseum, Bern, 2007; ‘Indian Highway’ (2009 ongoing); ‘Generation in Transition,’ National 

Gallery of Art, Warsaw; ‘The Eye is a Lonely Hunter, Images of Humankind,’ at Fotofestival Mannheim_ 

ludwigshafen_Heidelberg; ‘After the Crash’ at Museo Orto Botanico, Rome; his recent solo show being 

‘Flux: dystopia, utopia, heterotopia,’ Gallery Espace, New Delhi. Agarwal recently co-curated a twin city 

public art project, Yamuna-Elbe.Public.Art.Outreach. He writes extensively on ecological issues, and is 

also founder of the leading Indian environmental NGO, Toxics Link. He is an engineer by training.

RAVI AGARWAL – Down and Out, Digital archival 

prints from transparencies, 30 x 20 inches. 

RAVI AGARWAL – Down and Out, Digital archival prints from transparencies, 



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BAIJU PARTHAN 

(b. 1956) 

Baiju Parthan has an eclectic academic background. Along with degrees in Painting, Botany, Philosophy, 

and a Post-grad diploma in Comparative mythology, he has done studies in computer game level design 

at the Pratt Institute Manhattan USA. Some of his selected group shows include ‘India’, curated by Pieter 

Tjabbes and Tereza de Arruda, Centro Cultural Banco do Brasil in Rio de Janeiro, Brazil; ‘Constructed 

Realities’, curated by Gayatri Sinha at The Guild, Mumbai, 2010; ‘Go See India’, part of India-Sweden 

Cultural Exchange Program; presented by Emami Chisel, Kolkata at Aakriti Art Gallery, Kolkatta, Vasa 

Konsthal and Gallery-Scandinavia,Gothenburg; ‘The Intuitive: Logic Revisted’, from the Osians Collection 

at The World Economic Forum, Davos, Switzerland; ‘Looking Glass: The Existence of Difference’, Twenty 

Indian Contemporary Artists presented by Religare Arts Initiative, New Delhi in collaboration with 

American Centre, British Council, Goethe-Institut/ Max Mueller Bhavan, New Delhi; ‘The 11th Hour: An 

Exhibition of Contemporary Art from India / Diaspora’, Tang Contemporary, Beijing. Parthan’s recent 

new media installations include Arpeggio for Abbe Faria,- Photography Installation, Benedictine Museum, 

Fecamp, France; ‘Liquid memory’ new media Installation- Galerie Christian Hosp, Nassereith, Austria.His 

recent solo shows are ‘Dislocation: Milljunction Part 2’, Aicon Gallery, London; ‘Milljunction: Paintings and 

Photo-Works by Baiju Parthan’, Aicon Gallery, New York; Liquid memory + Rant - Inter-media show 

Vadehra Gallery New Delhi.

BAIJU PARTHAN – Manifesto-Engineered Fruit / 2011, 3D rendering - lenticular 

print, 36 x 36 inches. 


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T. V. SANTHOSH 

(b. 1968) 

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; 4th 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.

T. V. SANTHOSH – At the Cost of Many / 2012, Water colour on paper, 



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RIYAS KOMU 

(b. 1971) 

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.

RIYAS KOMU – Untitled / 2011, Oil on canvas, 24 x 24 inches. 

RIYAS KOMU – Untitled / 2011, Oil on canvas, 24 x 24 inches. 


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K. P. REJI 

(b. 1972) 

K. P. Reji received his M.F.A and B.F. A in painting from the M.S. University, Vadodara. He is the receipient 

of the Sanskriti Award for the Young Artist-2007, Sanskriti Foundation, New Delhi. K. P. Reji has 

participated in several major exhibitions including 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; CIGE 2009, China and SHContemporary 08’, Shanghai represented by The Guild, 

Mumbai; Art Asia Miami, 08, represented by The Guild Art USA Inc. His recent solo exhibitions being 

With a Pinch of Salt was held at Nature Morte, New Delhi in collaboration with The Guild and ‘Just 

Above My Head’, The Guild, Mumbai.

K. P. REJI – School / 2011, Oil on canvas, 84 x 60 each (triptych). 


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VIDYA KAMAT 

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, by Anupa Mehta.

VIDYA KAMAT – For the Love of my People / 2011, 

Play money, strings, 108 x 48 inches. 


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