Ansuman Chakraborty is an artist and filmmaker based in New Delhi. After graduating in art history from Visva-Bharati University, Santiniketan in 2003, he went into film making, specialising in screenplay writing and direction, from the Satyajit Ray Film & Television Institute, Kolkata, graduating in 2007. Since then, he has acquired extensive screenplay writing and production experience in television. Alongside, he produces drawings, paintings and graphic novelettes. He says prefers using manual over digital means in his work in the visual arts and in cinema. Ismail made in 2019, is his first independent film. Made of his hand-drawn images, it is about a migrant worker, living on the margins of a rapidly changing and uncaring city.
Anuradha Upadhyay is a painter, printmaker, performer and video artist based in Baroda. Her works investigate the changing notions of the ‘feminine’ within and outside of the discourse of feminism. Educated at the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda, she obtained a BFA in Painting in 2013 and MFA in Printmaking, 2015. She has been active in various residency programmes, in India and overseas including the BBK Gallery, Würzberg, Germany in 2014; Khoj Peers, New Delhi in 2016; Serendipity Arts Festival, Goa, 2016-17. Anuradha has a number of solo and group exhibitions to her credit, including ones held at Kiran Nadar Museum, Delhi, 2010-11; MOSA (Museum of Belgium), 2013; Ground, a group show at Baroda, 2019.
Archana Hande is an artist and curator, trained as a printmaker at Visva-Bharati University, Santiniketan (1991) and at Maharaja Sayajirao University Baroda (1993). Archana works in a range of media including installation, drawing and video and has a wide repertoire of work to her credit. In 2000, she won the Charles Wallace India Trust Arts Award to participate in the Glasgow School of Arts Residency Program. Her work has been exhibited across India and the world at venues such as the Kunstmuseum Bern, Helsinki Art Museum, the Guangzhou Triennial, and the Yokohama Triennial. A selection of her recent shows: All is Fair in Magic White: Delhi, Rome, 2010; I am a Landscape Painter: Bombay, 2015; The Golden Feral Trail: Perth and Laverton, Australia, 2017.
Atul Bhalla is known for his sustained preoccupation with the eco-politics of water, a theme that forms the basis for his diverse practice. He has drawn attention to issues such as the inequitable distribution of water, its regulation, commodification and pollution, over some years. In this process, Atul has explored the historical, spiritual and physical significance of water for the people of New Delhi, his home city. His personal negotiation of water provides a stage from which to address larger political issues concerning bodies of water and the urban environment, which he does in a poetic style of presentation. After doing his BFA from the College of Art, Delhi University, Atul did his Masters in Fine Arts from the School of Art, Northern Illinois University in the USA.
BV Suresh is caught up in questions of realism and representation, producing a body of work that continuously negotiates the visual fields of the contemporary world. His work draws on multiple realisms, raises questions of history and narration. He employs combinations of videos, paintings, installations, digital prints and even mass media images. A teacher of art and a practicing artist, Suresh was initially trained at the Ken School of Arts, Bengaluru. He later studied at the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda and the Royal College of Art, London. He currently heads the Fine Arts Department at the Sarojini Naidu School, University of Hyderabad. Suresh enjoys collaborative projects with artists, authors of children’s books and theatre persons.
Babu Eshwar Prasad has a deep interest in exploring a range of media, including sculpture, video and photography and in conducting workshops for art students. The focus of his current work is the urban space and the unplanned development taking place at an unprecedented pace, affecting us all as individuals. Babu received a BFA in Painting from Karnataka Chitrakala Parishat, Bangalore (1989), and his MFA in Graphics from Maharaja Sayajirao University, Baroda (1992). Since 1996, he has held many solo and group exhibitions in India and abroad. Babu’s first feature film Gaalibeeja (Wind Seed) has received critical acclaim at several film festivals in India and abroad, and he intends to make other video works in long and short formats.
Baptist Coelho received his post-graduate degree from the Birmingham Institute of Art & Design, UK. His interdisciplinary projects deploy diverse media including installation, sculpture, video, sound, photography, collage and performance. Baptist is concerned with the history of war and conflict and its relation to everyday life. He would like to articulate unspoken stories of war and to draw meaning from the psychological and physical disruptions caused by war. Baptist brings together research from personal conversations and institutional knowledge, working through a process of archival and ethnographic research. Baptist was awarded the Sovereign Asian Art Prize in 2016 and has exhibited in several art spaces in Europe and Asia.
Bharati Kapadia has engaged with the visual arts for over four decades, consistently showing original work. Her media include painting, printmaking, collage, performance and video. Dealing with issues related to inner evolution, memory and identity, her techniques include light as a crucial element. She works on surfaces like cloth, paper, canvas, wood and metal. Based in Mumbai, she has shown widely in India and at international venues in New York, Boston, Nova Scotia, Vienna, Munich and Istanbul. She has participated in residencies in India, Spain and the United States. Bharati has designed art-related books, catalogues, posters and executed turnkey exhibition projects. She has curated art exhibitions and been a consultant to art collectors.
Darshana Vora is an artist working in moving image, site-specific installation and digital image genres. With a background in architecture, she has an interest in the architectonics of space and music, which she explores extensively in her work. Originally from Mumbai, she is based in London since 2009, where she works as Curator / Arts Administrator and Archivist at The Bhavan Centre. Darshana’s work has been exhibited at the Loft Gallery, Mumbai; Bhau Daji Lad Museum, Mumbai; National Gallery of Modern Art, Mumbai; British Council Gallery, Mumbai; Sans Tache Gallery, Mumbai; Lakeeren Art Gallery Mumbai; Novas Contemporary Urban Centre, London and Aicon Gallery, New York among others.
Gargi Raina is a contemporary artist, concerned with the connection between the physical and the ethereal. She creates a sequence or a pattern of objects and images that represent her idea of stretching time – reflecting on changing times and society. Gargi says that working with this idea, seeing actions in slow motion, running them backwards and forwards in time, has been crucial to her recent work. She graduated in Fine Arts from the College of Arts, New Delhi (1985) and received a master’s degree in painting from the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda (1988). Gargi has held solo shows in Mumbai, Bangalore, Baroda and New Delhi and participated in numerous group shows.
Hetal Chudasama is a multidisciplinary visual artist, working in India and England. She trained in painting at the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda, and in New Media Art at the École des Beaux-Arts, Marseille, France. Hetal’s art practice is informed by her understanding of time and space as the fundamental tools that shape human consciousness. Hetal’s works exist between the physicality of space and its illusory stillness, against the perversity of passing time. She believe that space can only be experienced through the realm of time, and her work examines the complex dynamics of human behaviour in this context. Her paintings, performances and installations have been exhibited in India, France, Switzerland and the UK.
Jahangir Jani is a self-taught artist from Mumbai. He works with sculpture, installation, watercolour and video. He is known for his life size sculptures. He is concerned with the making of culture and the socio-political consequences of its propagation. He has been recognised for his work in the field of gender and sexuality diversity through his art practice. During the past three decades, he has exhibited widely in India and abroad. Film festivals in India, Sweden, France, USA, Canada, UK and Korea have shown his videos. He has held 17 solo shows and numerous group exhibitions, has been invited to national and international seminars, residencies and camps and a stint as a visiting lecturer at the École des Beaux-Arts, Paris.
Jeetin Rangher is a Bangalore-based multidisciplinary artist, who says his art is nurtured by his sensitivity to nature and social environments. Jeetin’s main concern has been human intrusion into the natural world. His works lean toward self-healing, transformation and creating change through sharing and connecting. Jeetin’s performances are critical reflections on our social, cultural as well as political behaviour. He works with different communities in conflict zones and does community art and workshops for special-needs children. Jeetin has participated in performances, festivals and multidisciplinary art projects in India and South Asia, including Serendipity Art Festival, Goa, Colombo Biennale and Jaipur Art Summit.
Karthik KG aka Plastic Jellyfish, is a visual artist and researcher who engages with changing / moving / shifting phenomena that reflect technological abstractions. Toying with such ideas, his work takes the shape of algorithmic data visualisations, videos and sonifications, paper-foldings, drawings, games, posters, texts, among other outcomes. Karthik did an M Res in the Curatorial/Knowledge Programme at Goldsmiths College, University of London (2016) with a thesis titled Unique Identification and the Dividual. He holds an MA in Visual Arts from the Ambedkar University, New Delhi (2014). Earlier, he was a Systems Analyst at Tata Consultancy Services for six years at Chennai, for which he qualified with a BE from Anna University, Madurai (2005).
Khandakar Ohida is a Delhi-based art practitioner whose works explore questions of identity in the context of gender relations, social hierarchy and religious hegemony. Ohida’s practice includes varied media – drawings, paintings, installations, videos and performance art. She has participated in many state and national exhibitions, workshops and residencies including the Students Biennale at the Kochi Muziris Biennale 2016, KIPAF (Kolkata International Performance Art Festival) 2016, and Ahang a traveling exhibition held in Lahore, Islamabad and Karachi in 2019. She has done her BFA from the Government College of Art and Craft, Calcutta, 2016;and MFA from Faculty of Fine Arts, Jamia Millia Islamia, New Delhi, 2018.
Manmeet Devgun is a Delhi-based performance artist. She uses poetry, photography and live performances to engage with issues linked to her own life and situations, foregrounding key feminist concerns. Using her body to communicate, her gestures and phrases strike a chord with audiences. Her concern is that we are facing the loss of multiple freedoms of choice, of what to say, what to eat, what to wear, whom to love, even whether to step out of our homes. She has exhibited her work as part of numerous group shows across Delhi, Vienna, Berlin and Madrid among other places. A poet, school teacher and a single mother, she says she loves to daydream and dance.
Meera Devidayal says she is essentially an urban person, and her art is grounded in the images that the city throws up. She came to Mumbai in 1967 as a student at the Sir Jamsetjee Jeejebhoy School of Art, had her first exhibition in 1975, and has been here since. For almost two decades, the idea of the city as a dream world has been central to her work. She has worked on ‘development’ (Dream-Home, 2003); the migrant (Tum Kab Aaoge, 2005); the home (Where I Live, 2009); the mills turning to malls (A Terrible Beauty, 2014). Recently she has reflected on the consequences of land reclamation in the age of global warming (Water Has Memory, 2018). Her narratives allude to aspiration, to tenacity and also to greed.
Mithu Sen strives to explore and subvert hierarchical codes and rules. She makes particular reference to sexuality, language, experiences of marginalisation and the value of art objects. In the process, she challenges standards of social exchange, undermining the codes we have come to rely on. Her practice incorporates painting, poetry, moving images, sculptures, installations, sound montages, instructional exchanges and performances that demonstrate the restrictions placed on expressive capacities by language and social conventions. After her BFA (1995) and MFA (1997) from Kala Bhavan, Visva-Bharati University, Santiniketan, she did a postgraduate program at the Glasgow School of Art (2001) on the Charles Wallace India Trust Award. Mithu lives in New Delhi.
Monali Meher has worked with her own body and emotions as a form of public expression since 1998. Over time, her visual language came to be built of elements like decay, matter and memory; hybridisation and transformation; creation of new identities; belonging and intimacy. Time is central to her practice, it is a medium, which is extended, assembled and captured, whether as a wrapped object or as a performance. The aspects of continuity, repetition, vulnerability, duration, temporality, awareness and public involvement are qualities that inform her art practice. Monali graduated in Fine Arts from the Sir Jamsetjee Jeejeebhoy School of Art, Mumbai in 1990. She is based in Amsterdam since 2000, working with performances, video, photography and installations.
Muskaan Singh graduated in fine art from Patna University (2014) and did her postgraduation from Shiv Nadar University (2018). After completing her studies, Muskaan has been drawn to experimentation with mixed media, installation art, and stop motion animation. She is acutely aware of the rules of the social framework of caste and property and tries to represent the effects of such pressures through juxtaposed narratives. She thinks about resistance to, and circumvention of, these norms. Muskaan says that humour and the vernacular idiom are her means to discuss complex political situations. She uses references specific to her village and culture to express socio-cultural encounters and political experiences in contemporary life.
Navjot Altaf, has been drawing and painting, doing photography, sculpture, video, installation, mixed-media and public art, in a career spanning four decades. Propelled by an engagement with the social and political realities of contemporary times, Navjot attempts to expand the interaction between artist and viewer, creating a cooperative dialectical conversation around works of art. Navjot studied Fine and Applied Arts at Sir Jamsetjee Jeejeebhoy School of Art in Mumbai, where she met artist Altaf Mohammedi. They married in 1972, sharing their political philosophy and a studio, till he passed away in 2005. Her work has been exhibited in galleries and museums worldwide. Currently, she divides her time between Mumbai and Bastar, working collaboratively with artisans.
Paribartana Mohanty works across storytelling, painting, video, performance, writing and curation. While his art may be triggered by everyday experiences, it is primarily research-based, containing references to works of other artists and scholars. He is interested in ideas of simultaneity and multiplicity of events, which he explores through video and performance. Originally from Bhuvaneshwar, where he did his BFA in printmaking from Dhauli College of Art and Craft, he moved to Delhi, where he did an MA in History of Art from the National Museum Institute. Now living in Delhi, Paribartana is also part of the WALA collective with Akansha Rastogi and Sujit Mallik, engaged in public, community and site-specific art projects, public performances and guided tours of the city.
Ranbir Kaleka work reflects a view of the world that is highly internalised and appears to rely on the juxtaposition of improbabilities. His video art has been an essential endeavour in his further exploration of the ‘psychological event’. Such events can take place through the use of light to create the image and the subsequent aura of the image. Ranbir has also created and exhibited constructed photographs, sculptures and installations. He studied at the College of Art in Chandigarh from 1970-75. He received a Masters Degree in Painting from the Royal College of Art in London in 1987. His work has been widely exhibited in India and abroad.
Ranu Mukherjee combines drawing, painting and print on fabric or paper, alongside video, animation and choreography, to make large scale installations. Her work is marked by a deliberate use of saturated colour, layering and fragmentation. Shifting visions of landscape and ecology, migrations and diaspora, female experience and feminism, are represented in her work, perhaps as representations of forces that can move society into the future. With a BFA in Painting and Filmmaking from the Massachusetts College of Art, Boston in 1988, she did her Masters in Painting from the Royal College of Art, London in 1993. At present, she lives in San Francisco where she teaches at the California College of Arts.
Saba Hasan is a contemporary artist with a multimedia repertoire developed over two decades. Initially trained in social anthropology, her work is layered with nuanced undertones. Her art has been described as abstract and philosophical, exploring the realms of spirituality and human values. Saba has exhibited widely in India and internationally. She has shown in Paris, New York, Lisbon, Salzburg, Venice, Milan, Florence, Colombo and Singapore. She is a recipient of the Raza Award for painting in 2005 and international fellowships from Syracuse University, New York 1985; the George Keyt Art Foundation, 2002; the French Cultural Ministry, Paris 2006; the Oscar Kokoschka Academy, 2010 and Manhattan Graphics, New York 2016.
Shakuntala Kulkarni is a Mumbai based multidisciplinary artist, working since the 1980s. Her art practice can be described ongoing enquiry into the lives of urban women in the context of patriarchy. This quest takes her to the spaces related to women: home, work environments, cultural and social spaces. She looks at the different forms of discrimination and violence that women are forced to cope with. Shakuntala has addressed these issues and suggested the possibilities of dealing with them. Originally trained in mural painting and printmaking, her work has moved from flat surfaces into sculpture, performance and video. She also draws on theatre, using her own body as the site of contestation for addressing her concerns in her performance videos.
Sharmila Samant works with a variety of forms such as installations, performance and photography. Globalisation, identity and consumer culture are central issues in Sharmila’s work. She has worked with activist groups and community organisations, engaging in collaborative and participatory art projects. Several were in association with Tushar Joag, with whom she had a family. Currently on the faculty of the Department of Art, Design and Performance at the Shiv Nadar University, she studied sculpture and later, a course in Interior Design at the Sir Jamsetjee Jeejeebhoy School of Art. Sharmila’s installations and video works have been seen in prominent exhibitions in biennales, museums, artist-led spaces and alternative venues in India and abroad.
Sumakshi Singh is known for her performance, installation, painting and animation work. She plays on space-time theories and makes cultural, historic and physical critiques of place. She asks questions about permanence and transience, object and image, fact and illusion, mapping and displacement, perception and knowledge, while exposing the fragile set of givens upon which meanings are constructed. A graduate of the Maharaja Sayajirao University of Baroda (2001), Sumakshi earned a second BFA from The School of The Art Institute of Chicago (2003), where she taught for five years. Her interactive installations, paintings, drawings and sculptures have been presented in solo and group exhibitions in India, China, USA, France, Italy and Switzerland.
Surekha is a visual artist based in Bengaluru. Her work has been a series of explorations through installations, video and photography for over two decades. Her projects investigate how visuality can engage with gender, ecological understanding and socio-political aesthetics, negotiating public and private spaces. Surekha studied visual arts at the Ken School of Arts, Bengaluru, graduating in 1990. She then went to Visva-Bharati University for her Masters, completing in 1992. Since 1996 she has had many solo shows in Indian and international galleries and museums in Asia, Europe, North America, South America and Australia. Surekha has participated in international art residencies, taught in art universities and has also been involved in several visual art collectives.
Tushar Joag (1966–2018), described himself as “a public interventionist artist who politicises his art and attempts to aestheticise politics.” He investigated the key geopolitical paradigms of his time, particularly economic liberalisation and movement of global capital, creating works of public art and curating exhibitions. He is remembered for his guerrilla-like performative actions in the public sphere in Mumbai. He partnered with Sharmila Samant in many of his endeavours. They both taught at the Department of Art and Performance Art, Shiv Nadar University and had a family together. Tushar mentored a wide range of young people, helping them to embark on their own journeys of self-discovery, creativity and imagination through art.
Veer Munshi was born in Srinagar, Kashmir and he grew to adulthood there. After graduating from Kashmir University (1976), he studied Fine Art at the Maharaja Sayajirao University, Baroda (1981). He considers himself to be a displaced person, banished from Kashmir. Veer’s work seeks to highlight the constant turmoil within that comes from being dislocated from home and his images provoke viewers to reflect on forced migrations. Veer has shown solo in Delhi, Mumbai, Kolkata, Perth, Edinburgh and Geneva with installations, videos, paintings and photographs. He has also participated in over twenty group shows in India and abroad. Veer has been honoured with several public awards and fellowships from the Government of India.
Vibha Ghalotra has been concerned with the dominant impact of human activity on the environment, and its often irreversible consequences. While she is known for her large-scale sculptural installations, Vibha’s practice ranges across photography, film, video, found objects, performative objects, sculpture, installation, text, sound, drawing and public interventions. Her formal studies were in graphics at the Government College of Art, Chandigarh, (1999) and at Kala Bhavan, Visva-Bharati University (2001) in graphics. Vibha is the recipient of a number of fellowships and awards including the Asian Cultural Council Fellowship and the Rockefeller Grant at their Bellagio Center, 2016. She lives and works in Delhi.
Vidha Saumya seeks visual interest in congregating bodies, notions of deformity and popular cultures. Critics have remarked on her sharp observation of the politics of the body and sexual tensions held within bodies and gestures. Vidha has a Master’s degree in Visual Culture & Contemporary Art from Aalto University, Helsinki (2018); went to Beaconhouse National University, Lahore (2008) for an independent study programme; has studied Visual Communication Design from Srishti Institute of Art, Design & Technology, Bengaluru (2008); and has a BFA in painting from Sir Jamsetjee Jejeebhoy School of Art, Mumbai (2005). Vidha’s work has been seen in Lahore, Mumbai, Helsinki and Tampere. She is a co-founder of the Museum of Impossible Forms, Helsinki.
Vidya Kamat holds a degree in fine arts and has a doctoral degree in comparative mythology. Her art practice articulates concerns regarding the conflicts arising when traditional society has to come to terms with contemporary urban society. Vidya questions traditional beliefs that justify violence against women. Her work has been shown in diverse national and international galleries and art fairs. Known for her research and documentation work, she is a founding member of the Centre for Study of Mythology and Culture, Goa. She is associated with the University of Mumbai as an adviser and research scholar in ancient Indian myth and culture. Vidya is the founder of the ‘Talking Myths Project’, an online archive.
Vijay Sekhon is a multi-disciplinary artist, performer and storyteller. He creates site-specific works based on performance, video installation, drawing and painting. Vijay’s process is focused on understanding ourselves, our relationship with one another, the environment and the cosmos. Vijay has a MFA from Maharaja Sayajirao University, Baroda and a second Masters in Interactive Telecommunications from the Tisch School of the Arts, New York University. In a previous avatar, Vijay has worked with the Merchant Ivory team in feature film production. He does projects in the field of film and documentary making. From time to time, he teaches in centres like CEPT University, Ahmedabad and Kamla Raheja Institute for Architecture and Environmental Studies.