Most of the exhibitions we have discussed in this series includes different forms of art works. For example, all of the group shows curated by the curators we have discussed features two-dimensional works such as paintings, drawings, photographs, prints, etc., and three-dimensional works such as sculptures, installations, etc. But what about an exhibition which deals with only one of these forms? What if a curator wants to curate an exhibition on the contemporary painting? Or he/she wants to showcase the art historical evolution of painting? That means the show will feature only one form of work. The curator will have to rethink the space in a different way for this show. Also, they will require a historical grasp on the particular form they are dealing with. They should be thoroughly aware about the contemporary developments, the new artists and their techniques. Mostly such exhibitions also arise out of a passion to survey what is happening in a particular field of practice, for example in sculpting, painting, video-making, etc.
In this issue of Art1st’s “The Curator” series we will discuss Nancy Adajania’s exhibition Avatars of the Object: Sculptural Projections to see how she addressed the recent developments in the practice of sculpture.
The Curator #18
Curator: Nancy Adajania
Exhibition: Avatars of the Object: Sculptural Projections, 2006
Venue: Guild Gallery and Jehangir Nicholson Art Gallery
Nancy Adajania is a cultural theorist and curator. She has curated various important shows in India and abroad. She has also edited various publications on art and culture. Her recent editorial venture was to compile a lexicon of affective terms which was published in the journal Aroop. The terms for the compendium were contributed by various artists across India.
Her focus of the exhibition was that the ‘classical sculptural object is no longer tenable, and that the most interesting sculpture being produced today emerges from a science of dematerialized objects.’ What are dematerialized art objects? It is the result of a new development in art practice where art object was dematerialized, which means that art production was possible without conventional physical materials. It aimed towards a high-conceptual art. This was done so that art could escape from commodification and commercialization. It was impossible to sell a non-physical idea or work which exists as a concept or which is ephemeral in nature. The term dematerialization was coined by art critics Lucy lippard and John Chandler.
Therefore, the exhibition curated by Adajania featured objects that formed her display comprised ‘video footage of self- destruct sculpture; sculpture as the performance of moving parts; sculpture in a condition of meltdown and remaking; or sculpture that takes the viewer for a walk along a conceptual map studded with text.’
She notes that sculptors in ever period has revisted their choice of materials. We too know from our previous posts and Art1st books and training programs that apart from bronze, marble and stone, modernist sculptors started using newer materials such as concrete, fiberglass, industrial waste, plastic, etc. Sculptures also acquired movement instead of remaining static like it used to be. Therefore, it became necessary for a curator to understand this change and how to showcase this new change in sculpture-making for the viewers.
The artists of this show were Jehangir Jani, Shilpa Gupta, Anita Dube, Kaushik Mukhopadhyay, Mithu Sen, M M S Umesh, Navjot Altaf, and Pooja Iranna. Most of these artists, apart from incorporating the latest developments in technology and materials, also used their practice to address significant social issues.
For example, Navjot Altaf’s works has been dealing with social injustice and political violence happening around us. She also deals with the discrimination and inequalities faced by minorities and women. Like Nancy has noted, “She brings to her work a sense of social commitment and a need to expose the social injustice.”
Shilpa Gupta uses her work to ‘engage the viewer through the provocative and interrogative dimensions of conceptual art.’ She uses video projections, shadows, etc., to create a participatory work with the viewer. She creates artwork using interactive websites, video, gallery environments and public performances to probe and examine subversively such themes as consumer culture. Among the artists on view, Jehangir Jani works with different medium like sculptures, ceramics, fiberglass and sheet metal.
Mithu Sen works with found objects, apart from her visceral paintings and sculptures, she has a fascinating collection of dolls. Her works are very playful in nature and they employ a dark humour. Anita Dube as we know ‘often employs a variety of found objects drawn from the realms of the industrial (foam, plastic, wire), craft (thread, beads, velvet), the body (dentures, bone), etc.’
According to Adajania, the show concentrated ‘on the performative aspects of sculpture, as objects of art emplace and simultaneously displace contexts of spectatorship and vice versa. The displacement of object and meaning in the extended-sculpture realm challenges, even mocks received ideas about sculpture. This opens the door for two alternatives. On the one hand, we can re-objectify the object along different norms. On the other hand, we can move to a post-object sculpture: we can address the after-life of the object, looking for the lost sculptural qualities and finding them transformed/morphed, made anew.’
What are your views on conceptual art? What kind of new materials have been used recently to make sculptures? What is the difference between a sculpture and an installation? What is a live-sculpture? Let us discuss more about these aspects.
Also, I wish you all a Happy New Year on behalf of Art1st. We are looking forward for an exciting year ahead with lot of new interesting projects. We will keep you posted about them soon.
Premjish, Director-Outreach, Art1st.