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Being Alive: Iram Art, Ahmedabad

Past exhibition
2 December 2024 - 29 January 2025
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  • Works
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Contemporary art and anthropological aesthetics converge in a dynamic dialogue, allowing insight into the complexities of our interconnected world. The roots of the relationship of art and anthropology are traced to Franz Boas. Boas, in his seminal work "Primitive Art" (1927), dismantled Eurocentric notions of cultural superiority, establishing the groundwork for appreciating non-Western artistic traditions. His emphasis on cultural relativism and the imperative to understand art within its cultural context set the stage for subsequent anthropological inquiries.

Continuing Boas's legacy, Claude Lévi-Strauss played a pivotal role in shaping the structuralist approach. In "The Savage Mind" (1962), Lévi- Strauss delved into the foundational processes underlying diverse cultural phenomena, including art. His exploration of myth as a communicative and expressive form provided a framework for understanding the symbolic dimensions of artistic production across various societies.

Alfred Gell's "Art and Agency" (1998) marked a notable departure from preceding methodologies. Gell spotlighted the significance of art objects, proposing that artworks possess the agency to influence society. His examination of how art functions as a social catalyst ignited debates regarding the essence of art and its role in shaping human behaviour and interpersonal connections, placing his work in many regards on the lines of Arnold Hauser’s Social History of Art.

Howard Morphy redirected attention to indigenous art and its significance within distinct cultural contexts, as evident in "Ancestral Connections: Art and an Aboriginal System of Knowledge" (1991). Morphy's research emphasised the intricate interplay between art and indigenous knowledge systems, stressing the importance of considering artistic forms within their cultural, historical, and spiritual frameworks.

In the contemporary landscape, Tim Ingold has been instrumental in reshaping the connection between art and anthropology. In "Being Alive: Essays on Movement, Knowledge, and Description" (2011), Ingold advocates for an anthropology of creativity, urging scholars to move beyond analysing finished art pieces and engage with the actual processes of artistic creation. His concepts have opened new vistas for investigating the evolving and fluid characteristics of artistic methodologies.

Another important figure, Anna Tsing in her work often delves into multispecies ethnography, exploring the complex relationships between humans and other organisms. Tsing's anthropological lens embraces the idea that humans are entangled in a web of relationships with diverse species, and she critically examines the implications of these entanglements for both local and global ecosystems. By emphasising the relational nature of life on Earth, Tsing's perspective challenges conventional boundaries within the discipline, urging scholars to consider the broader ecological context in their anthropological inquiries. Her interdisciplinary approach reflects a commitment to addressing urgent environmental issues and encourages a reevaluation of anthropological methodologies in light of contemporary ecological challenges.

From Boas's cultural relativism to Lévi-Strauss's structuralism, Gell's examination of art as agency, Morphy's study of indigenous art, to Ingold's emphasis on the anthropology of creativity and Tsing’s approach that goes beyond traditional human-centric perspectives, the exhibition builds a framework for examining the larger ways of looking at the part, and present.

The exhibition proposes viewing the works of the selected artists through the conceptual sections of Cultural Hybridity and Relativism, Indigenous Perspectives and Agency of the Objects in their relation, Ecological Concerns and the Anthropocene, and the intersections of these. With works that push the boundaries of traditional forms and mediums, the exhibition becomes a fecund field with rich material for investigating cultural dynamics, identity politics, technological transformations, activism, and ecological challenges.

Curated by Satyajit Dave

  • Reyaz Badaruddin, Between the lines II, 2024
    Reyaz Badaruddin
    Between the lines II, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Acrylic on canvas
    60" x 48"
  • Lakshmi Nivas Collective, Cartography Gone Wrong, 2024
    Lakshmi Nivas Collective
    Cartography Gone Wrong, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Sheep wool fabric, cotton thread
    219cm x 105cm each
  • Zeigam Azizov, Strangers to ourselves , 2024
    Zeigam Azizov
    Strangers to ourselves , 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Inkjet print
    Hahnemuhle studio enhanced paper
    3' x 2'
  • Shanthamani Muddaiah, The Wave, 2015
    Shanthamani Muddaiah
    The Wave, 2015
    Displayed at "Being Alive" at Iram Art Gallery Dec 2024
    Ink and acrylic on handmade cotton rag paper
    136 X 271 cm
  • Lakshmi Nivas Collective, A Landscape Painting, 2024
    Lakshmi Nivas Collective
    A Landscape Painting, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Goat and bull semen on oxidised copper sheet
    66cm x 45.7cm each (66cm x 152cm)
  • Eline Groeneweg, Eline Groeneweg in collaboration with Kirit Chitara, mata-ni-pachedi artisan, 2018
    Eline Groeneweg
    Eline Groeneweg in collaboration with Kirit Chitara, mata-ni-pachedi artisan, 2018
    Part of the exhibition
    Craft & Costume / Ambacht in Dracht
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Commissioned by
    Textielfactorij / Zuiderzee Museum
    Peacock sleeve: 67 cm (l) - 47 (dia cuff)
    Tree of Life sleeve: 70 cm (l) - 14 (dia)
    Patterned sleeve: 58 cm (l) - 32 (dia)
  • Eline Groeneweg, Eline Groeneweg in collaboration with Kirit Chitara, mata-ni-pachedi artisan, 2017
    Eline Groeneweg
    Eline Groeneweg in collaboration with Kirit Chitara, mata-ni-pachedi artisan, 2017
    Part of the exhibition
    Chintz: Cotton in Bloom / Sits: Katoen in Bloei

    Fashion & Textile Museum London (UK)
    18 May - 12 Sep 2021

    Fries Museum Leeuwarden (NL)
    11 Mar - 10 Sep 2017

    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Hand painted natural dye on cotton
    65 x 145 cm
  • Megha Joshi, Agnostic, 2022
    Megha Joshi
    Agnostic, 2022
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Hand knotted thread on canvas, diptych
    24" x 72" (each)
    48" x 72"
  • Megha Joshi, Mapping Faith, 2022
    Megha Joshi
    Mapping Faith, 2022
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Ritual materials ( Rudraksha, mauli, janeyu and jyot) and ink on canvas
    60" x 30"
  • Megha Joshi, In search of faith series , 2024
    Megha Joshi
    In search of faith series , 2024
    Bronze and thread
    26" x 24" x 10"
  • Megha Joshi, In search of faith series, 2024
    Megha Joshi
    In search of faith series, 2024
    Hand knotted threads on epoxy on canvas
    48" x 48"
  • Shanthamani Muddaiah, Urn, 2017-2023
    Shanthamani Muddaiah
    Urn, 2017-2023
    This is the last edition in 2 +AP Shown in Start Art Fair at Saatchi and Saatchi, London in 2019
    2nd edition is in the collection of Museum of Sacred Art , Brussels
    Wood charcoal with cotton rag pulp
    61 x 116 x 102 cm
    (24 x 46 x 40 inches)

    Urn is an object that is usually used in burial rituals. In India the ash of the dead is collected in it before it is dispersed in the river. I am interested in the process of the content becoming the container, subverting the very way we look at the role of nature today.
  • Shanthamani Muddaiah, Black Bloom, 2017
    Shanthamani Muddaiah
    Black Bloom, 2017
    Wood charcoal with cotton rag pulp
    48" x 36" x 20"
    Wall mounted
  • Shanthamani Muddaiah, One dollar, 2023-24
    Shanthamani Muddaiah
    One dollar, 2023-24
    Edition of 2 + AP
    A similar 100 dollar bill is in the private collection of PM of Luxemburg, in the parliament
    Wood charcoal with cotton rag pulp, Carbon fibre laminated for
    support
    76 x 183 cm
  • Shanthamani Muddaiah, Globe, 2023
    Shanthamani Muddaiah
    Globe, 2023
    Edition of 2 + AP
    Burnt wood on Aluminium frame
    30x 30 cm globe, on wood pedestal
    measuring 53 x 28 x 2.5 cm
  • Shanthamani Muddaiah, Still life, 2022
    Shanthamani Muddaiah
    Still life, 2022
    Displayed at "Being Alive" at Iram Art Gallery Dec 2024
    Charcoal, paper pulp, wood and black rubber
  • Mrugen Rathod, On my way to Chansad village, 2024
    Mrugen Rathod
    On my way to Chansad village, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Watercolor on hand made paper
    9" x 12"
  • Mrugen Rathod, On my way to Chansad village, 2024
    Mrugen Rathod
    On my way to Chansad village, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Watercolor on hand made paper
    9" x 12"
  • Mrugen Rathod, River B(L)ACK, 2024
    Mrugen Rathod
    River B(L)ACK, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Paper pulp and acrylic gloss
    88" x 88"
  • Mrugen Rathod, River gauge project 16.5/132, 2022
    Mrugen Rathod
    River gauge project 16.5/132, 2022
    Fabric, rice paper, stainless steel armature, LED light, tea toning, gel medium and ink
    102" x 14.5" x 5.5"
    Acquired by Deepak Patel (Ganesh Housing)
    Sold
  • Mrugen Rathod, On my way to Chansad village, 2024
    Mrugen Rathod
    On my way to Chansad village, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Watercolor on hand made paper
    9" x 12"
  • Mrugen Rathod, On my way to Chansad village, 2024
    Mrugen Rathod
    On my way to Chansad village, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Watercolor on hand made paper
    9" x 12"
  • Mrugen Rathod, An urban water body 1, 2023
    Mrugen Rathod
    An urban water body 1, 2023
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Paper pulp, acrylic glass, wood and cement
    20" x 20"
  • Mrugen Rathod, On my way to Chansad village, 2024
    Mrugen Rathod
    On my way to Chansad village, 2024
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Watercolor on hand made paper
    9" x 12"
  • Sojwal Samant, Utpadan, 2015
    Sojwal Samant
    Utpadan, 2015
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Wood, glass, ceramic
    61" x 14" x 14" each
  • Dr Sangeeta Sandrasegar, Die Ährenleserin und ihre Schlange, 2019
    Dr Sangeeta Sandrasegar
    Die Ährenleserin und ihre Schlange, 2019
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Cut paper, watercolour and glitter
    31 x 41 cm


    The series Bestarium 2019 draws upon the history of visual representation from scientific botanical and natural history illustrations, with classical Western art genres to examine the legacy of artistic vision upon ways of knowing the world around us. The cutouts draw upon the watercolours of Austrian master dyer Aloys Zötl’s Bestiarium, a series of exquisite paintings of various animals undertaken from 1831 through until his death in 1887. In Sandrasegar's re-interpreted Bestiarium 2019 these fantastical animals sit alongside sculptures from collections of various German museums in settings of the artists imagination.
  • Dr Sangeeta Sandrasegar, Der kleinen schwarzen Jung mit seine Gans, 2019
    Dr Sangeeta Sandrasegar
    Der kleinen schwarzen Jung mit seine Gans, 2019
    Part of the show "Being Alive" at Iram Art Gallery Dec 2024
    Cut paper, watercolour and glitter
    31 x 41 cm
    Acquired by Nikhil Kamath, Zerodha, Goa


    The series Bestarium 2019 draws upon the history of visual representation from scientific botanical and natural history illustrations, with classical Western art genres to examine the legacy of artistic vision upon ways of knowing the world around us. The cutouts draw upon the watercolours of Austrian master dyer Aloys Zötl’s Bestiarium, a series of exquisite paintings of various animals undertaken from 1831 through until his death in 1887. In Sandrasegar's re-interpreted Bestiarium 2019 these fantastical animals sit alongside sculptures from collections of various German museums in settings of the artists imagination.
    Sold
  • Dinar Sultana, Anthropomorphic Basic Pillar 4, 2024
    Dinar Sultana
    Anthropomorphic Basic Pillar 4, 2024
    Clay, charcoal and watercolour on newspaper pulp made self made paper
    63" x 16"
  • Dinar Sultana, The solar pillar, 2023
    Dinar Sultana
    The solar pillar, 2023
    Various colours of clay, minerals, charcoal, graphite on newspaper pulp made self made paper, direct impression from different types of crafts on self made paper
    60" x 36"
  • Dinar Sultana, Anthropomorphic Basic Pillar 1, 2024
    Dinar Sultana
    Anthropomorphic Basic Pillar 1, 2024
    Clay, charcoal and water colour on newspaper pulp made self made paper
    53" x 16" x 16"
    Acquired by Divya Vedi
    Sold
  • Reyaz Badaruddin, The roads we take, 2024
    Reyaz Badaruddin
    The roads we take, 2024
    Terracotta, engobe & glaze
    40" x 32"
  • Sojwal Samant, When god was handing out brains, I went with a sieve, 2021
    Sojwal Samant
    When god was handing out brains, I went with a sieve, 2021
    Displayed at "Being Alive" Iram Art Gallery Dec 2024
    Ceramics wood and wire mesh
    48" x 10" x 2"
  • Rajat Gajjar, Thrift, 2024
    Rajat Gajjar
    Thrift, 2024
    Displayed at "Being Alive" Iram Art Gallery Dec 2024
    Gold on porcelain
    7" x 4" (27 works)
  • Sojwal Samant, Clouds, 2017
    Sojwal Samant
    Clouds, 2017
    Displayed at "Being Alive" Iram Art Gallery Dec 2024
    Terracotta
    Variable
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