‘Katharsis in Forbidden Zones’ by Dimple B Shah

KATHARSIS IN FORBIDDEN ZONES

Paintings, Sculptures, Installation & Performance by DIMPLE B SHAH

(Part of Women’s March 2013)

Preview: Wednesday, 6th March at 6.30 pm

Venue: Kalakriti Art Gallery, Hyderabad

http://hyderabad.afindia.org/katharsis-in-forbidden-zones-by-dimple-shah/

Alliance Française of Hyderabad and Kalakriti Art Gallery, in association with AGS Four Winds

and Pitars invites you to the opening of ‘Katharsis in Forbidden Zones’, a solo show by Dimple B

Shah.

Purification and healing process in various mediums is the base in Dimple B Shah’s solo show

‘Katharsis in Forbidden Zones’. The idea is to bring the effect of these elements and by studying

them in various aspects like psychological, sociological, ecological and philosophical ways to

understand society and self. Her performances deal with social issues in a theatrical expression,

along with a video installation.

The works in this exhibition represent, epitomise and evoke various alchemical substances to

suggest a precise examination of their properties, the laboratory paraphernalia alluding to

different stages of purification and transformation, while a host of more or less ordinary objects

link the findings of the quasi-science and modern scholarship with the character of our reality,

human imperfections or impurities as well as hope and ideals. The large canvases deal with

the basic classical metals of alchemy in a manner that binds them with and lets them disclose

rudimentary qualities of the human disposition. The artist begins from a position of neutral

objectivity and in the centre of the paintings places a researcher’s table whose frontal position in

vanishing point perspective seems to display it clearly to the viewer. The table covered by white

cloth introduces the sense of an old-fashioned study but with a tinge of domestic interior. The

vessels for chemical experiments and a profusion of other objects demonstrate their nature and

connections at various planes. With the help of the titles one can grasp some of the content,

whereas, indeed, like in the obscure science of alchemy, the specific, often complex relationships

between motifs necessitate detailed elucidation. On longer scrutiny, the objects arranged so

as to indicate their condition begin to stir responding to one another. As one recalls the words

denoting energy, flow and spirit that recur in Dimple’s drawings, the items on the table top

which usually include devices that heat substances contained in glass retorts appear to enact

self-presentation and transformation, like performers explaining themselves to the attentive

audience. The sense of a nearly theatrical scene is enhanced by the large format of the paintings

that invite an immediate, static focus from the spectator. The precise, sparing realism of the

rendering here aims at lucid objectivity, and yet an imperceptive mood of enigmatic, fragile

transmutation emerges with the glossy translucence of the glass tubes, beaked containers,

smooth bowls and globes, etc. The atmosphere gains an eerie note spreading into the saturated,

murky backgrounds that conjure an endless landscape engulfing the sky merged with the ground

over an expanse of flatness and indistinct depth, its darkness not relieved by the tonalities of

ominous, muted radiance conjuring a somewhat surrealistic impact. The intuition of the real and

the subconscious blends then, as a home interior contrasts as well as blends with the external

space indicative of its cosmic dimensions, the artist considering her theme at the same time on

the micro and macro scale, at the personal and social or all-encompassing levels.

Extract from Ms. Marta Jakimowicz’s essay for Dimple B Shah’s solo show ‘Katharsis in a

forbidden zones’ at Gallery Sumukha in 2010.

About the Artist

Dimple B Shah obtained her Diploma in Painting from KEN School of Arts, Bangalore in 1998,

and Post Diploma in Printmaking from the Faculty of Fine Arts MS University of Baroda in 2001.

In the year 2006 Dimple went to Glasgow Print studio to get further training in Printmaking,

Glasgow, UK. Dimple was awarded the First Gold Prix in 7th Engraving Biennale, Versailles,

France in 2009, and National award from Lalit Kala Academy, Chandigarh. She was also awarded

the Commonwealth Arts & Crafts Award, UK in 2005, and Junior Research Fellowship by

Department of Culture, Government of India during 2000-2002.

Dimple, in the very beginning of her art practice, went on to experiment on variety of

media. Her works comprises of Painting, Printmaking, Sculptures, Installations, Video and

Performance Art. Her recent performance include ‘RIP (Rest in Peace)’, Sethu Sundaram

Project, Bangalore; ‘Dual Paradox’, Rasa Art Gallery, Bangalore; ‘Milk, Melancholy and Me’,

Venkatappa Art Gallery, Bangalore, and, ‘One in Hundred years’, NGMA, Mumbai.

Dimple’s solo works has been showcased at Gallery Sumukha, Bangalore; Gallery III, Glasgow

Print Studio, Glasgow, Scotland; Central Park, Bangalore, and Gallery Akkruti, Bangalore. Apart

from these her works were featured in several group exhibitions, includes, ‘Cross Border

Constellations’, Theertha, IAC, Srilanka; 1st United Art Fair, New Delhi; National Awardees show,

Central Lalit Kala Academy, Bhubaneswar; 7th Engraving Biennale, Versailles, France; ‘Present

and Future, NGMA, Mumbai, to name a few.

On view until 13 March 2013, 11am -7pm

Opening on Wed, 6th March at 6.30pm till 13th March at Kalakriti Art Gallery, Open to all

Post Oil City And Bangalore Gardens Reloaded

Connecting Ideas - Marta Jakimowicz, Feb 3, 2013, DHNS

The dual exhibition “Post-Oil City: The History of the City’s Future” and “Bangalore Gardens Reloaded” was a very interesting event which strove to interactively connect ideas about the metropolitan past and its environmentally relevant solutions for later as well as the often similarly anchored, innovative efforts and inquiry among architects or urban planners and scientists with those of visual artists.

The event enabled by the Institute for Foreign Cultural Relations, Stuttgart in co-operation with ARCH+ and the Max Mueller Bhavan here was part of the German curator Elke Falat’s project to be realised in different countries and continents. It had three parts that evidently and not so evidently added to one another and framed one another. 

The main element that remains the same in diverse locations belongs to the precise charts and drawings presenting innovative, ecology-friendly plans for city buildings, waste managements, transport and such. The several cases for study were brought to the Visvesvaraya Museum (January 18 to February 3) and shown in such a way together with the art works by Bangalore artists as to nearly mingle with the venue’s own scientific display, thus underscoring the linkages of purpose and method behind all the participating agents.  

The artists were asked to “critically react to Post-Oil City in the local context, to develop utopias and question them” considering the recent boom growth of the city that has altered its garden-like character. One may suspect that there perhaps was not enough time for sustained work on the ambitious aim, since the new contributions addressing it directly were infrequent, most addressing the contemporary city phenomenon either in a broader manner relating to a diversity of angles or sourcing from already available work in an akin manner. 

Although the whole was rich and included a number of really good concepts and their visual expressions, the level was not exactly even. Another problem may have been one regarding the accessibility of intended meaning when presented in a public, educatory space. The main hall lined up by cases with urban plans seemed to be held together by its focus on the vast floor installation by Sunoj D, whose multi-seed balls with planting instructions evoked both unnatural farming conditions and a longing to overcome those.

While Ayisha Abraham’s video collage of old home movies conjured a sense of dynamic, vivacious history informing the present and Suresh Jayaram’s quilt hanging paid an emotional homage to the once green city, many artists dealt with difficult issues of Bangalore metamorphosing beyond its capacity. If on a somewhat literal note, Bhavani G D offered a video documentation of lakes depleted of water and Raghu Kondur depicted the dangers of construction labour, Suresh Kumar G resorted to a personal gesture filling an enclosure for vermin-compost with plastic trash. 

Among the best contributions one found Dimple B Shah’s noisy, hard and threatening cubicle of urban claustrophobia and Surekha’s Ragi crop growing from a field of discarded computer keyboards, besides the nostalgic lament for the absence of sparrows by Mangala Anebermath. Two exceptional works delved into subtler but significant changes in the occurring: one being the multimedia installation by Bharathesh G D attuning itself to the emergent connections between people and city grids, objects and materials, the other the text-based questioning of mutating relationships between contrasting notions by Prayas Abhinav. Thinking about the shape of the future, a calamitous outcome was foreseen by a gas-masked Madhu D in his performance photograph against felled trees. Nandesh Shanthi Prakash, nonetheless, chose an optimistic prospect of canvassing for alternative energy in his bicycle-born distribution of bright toy windmills. 

BANGALORE GARDENS RELOADED

No Space To Escape -"TO BE OR NOT TO BE"

As the city growing bigger and bigger everyday and more and more people migrating from various parts of the country and making Bangalore as their home. This constant inflow is leading to a very different transition of development that the city is experiencing leaving the city in a chaotic, claustrophobic and suffocating space. Argument can be good development or a bad development but fact remains that the city has changed drastically and slowly becoming the city like others without any identity except being just a concrete habitat. The cityscape of Bangalore has changed to accommodate flyovers, buildings, roads and metro etc. slowly and rapidly replacing greenery with concrete.

This installation work basically evoke the feeling of helplessness of situation ambushed, suddenly attacked like situation where no space to escape and exit (a trap). In this work the audience will be forced to confront the situation which they normally do it in everyday life subconsciously, but here they will consciously face it directly, there by alerting there mind to counter the question and seek for answers.Visually this work is in form of concrete box, inside the box there will be 360 degree view of existing city they live in, which is with cement and other material. the work  bring in main essential characteristic of city in minimal form. The experience within the box (claustrophobic and suffocating space leaving no space to breath) represent the psychological situation of mind the mental space.

Over powering of concrete and its inevitable super imposed presence in our daily life which is symbolically represents mans thought and body slowly turning into concrete form with no space for nature and not being in touch with ourselves. 

The installation is  memorabilia of the changing phase. The smell of concrete initially will attract the audience hiding danger ahead. This work is a presentation of the dilemma - Development (a distortion) – Good, Bad or Necessary. My idea is to bring the attention where we really need to look and what we really need to think about? This work provokes us to question ourselves where we are leading to? Is this road leading to Utopian land or land where there is no space to live?

Dimple B Shah 2013

For Reconciliation

Sethu Samudram Project, India-Srilanka collaborative project curated by Suresh Jayaram

It has been some years since #1 Shanthi Road started the Sethu Samudram project allowing interaction between local artists and their Sri Lankan counterparts from Theertha. In the face of earlier and grave recent history linking both countries as well as effecting in conflict, it has been dominated by geographic, socio-political and cultural issues, their pronouncement being as important as seeking a common ground and reconciliation. 

Although sadly, art still does not reach anyone beyond the Art circles proper, such ventures remain vital. Previous efforts of the artists who often participate continuously and of Suresh Jayaram, the moving spirit behind it all, have contributed then to their fleshing out during the recent joint residency, whose character was led by his curatorial guidance or perhaps only stimulus. 

The resulting exhibition from November 1st to 9th had two young participants from both lands led by the desire for overcoming the three decades of a complex and destructive war by reference, evocation and by drawing the onlooker into the mainly interactive installations. 

The Bangalore artists seemed to approach the task in a compassionate and encompassing way. With much immediacy in visual and emotive terms, Dimple Shah, using the act of erasure of suffering images and by gifting sea salt, engaged the opponent aggressiveness, victims and perpetrators of violence on all the sides, her own gesture and the visitor’s active response through an appeal for mercy and at the same time for forgiveness.

The work of  Prakash L was sincere too, perturbed and empathic, whereas the metaphorical content partly came through, as the blood running through the tubes forming a soldier’s boot, menacing over crematorium shots spoke of rebirth and renewal. Yet it partly remained unclear and unconvincing. One would have wished for an equally loaded and forgiveness-seeking position from the Sri Lankans who, however, preferred a cooler, statement-like, approach. 

“A Story of Dhal and Onion” by Prasanna Ranabahu and Lalith Manage was an accordion book with words and photographic prints alluding to the 1983 war with its ideological, commercial and psychological aspects whose realities, though, needed elucidation here. 

Manage’s T-shirts for sale calling for contact through the use of Sinhala, Tamil, Kannada and English scripts along with rangoli dotted lines was a nice but somewhat over-used idea.

Marta Jakimowicz

19 November 2012,  Deccan Herald,Bangalore.

Photographs by - B.S. Shivaraju (Cop Shiva)

Dual Paradox - Parallel Existence. Live Performance for Live Art Lab 2012 at Rasa Art Gallery

As a performance artist I wanted to work on public interactive based project, in this direction I collaborated with Live Art Lab, Bangalore, which is initiated by group of artists including me, providing platform for National and International artists to share their works and take up workshops for students and upcoming performers in Bangalore. And also encourage to do experiments in performance art. Live Art Lab conducted its first event where six members  of the Lab, four young artists and students participated.

My performance was titled DUAL PARADOX - Parallel Existence, in this performance I dealt with existential elements which talks about general psychology, that deals with mass hysteria and viral disease in the society and one of sociological aspect which we encounter in our everyday life. I have tried to resurface paradox that is lead by Aspirations - Virtue and there co-existence. This performance brings two contrasting state (fame and anonymity) in one frame, questioning the parallel existence of both in our society. The common frame will not only bring in the two individuals but also their life stories and backgrounds that they come from, you can accept or neither deny/ignore any one. Paradoxical juxtapositions of coexistence while suggesting a more truthful and harmonious possibility of coexistence between two extremes.

The act is like a truth which you can neither accept nor can reject totally which we encounter in our everyday life and consciously questioning our minds with our own identity and entity. Sometimes many of us still keep on juggling between these two positions in these frames sometimes as anonymous and sometime other.

The constant struggle by the large anonymous population to achieve fame, if we consider there are large populations that remain in anonymity and about 15 percent in other half in fame. How this works out when they are put in one frame? The performance also ponders around the well known statement "In the future, everyone will be world-famous for 15 minutes." This also brings in question of immortality of name in history books, the questions based on existence like - if they are not famous then does it equals to non existence or no voices heard, hordes of question related to identity and existence.

"Fame" once this was held only by a privileged few, fame went hand-in-hand with respect and hard work. To be famous meant that you had achieved something noteworthy, or had an exceptional talent. But things have changed, as demonstrated by the number of untalented people who are currently famous. Why has there been such a shift and why has the desire for fame become such a powerful motivation for so many people?

I would like to thank friends and artists present, for there overwhelming response to the event and active participation by lot of young talents, with great enthusiasm and spirit and making this event a Festival. Thank you Live Art Lab Members, Bar 1 Members and Rasa Gallery for the support.

Article - TRENDING-TODAY

All are Welcome to the Live Art Lab 2012