TASVEER in association with GANJAM present "Transmigrations (Fables and India Song)" at Gallery Art Motif, F 213 C, Lado Sarai > 11am-6pm on 28th January-9th February 2011

Time : 11:00 am - 6:00 pm

Entry : Free

Place : Gallery Art Motif, F 213 C, Lado Sarai, New Delhi - 110030

Venue Info : www.galleryartmotif.com  | Nearest Metro Station - 'Saket'

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Event Details : TASVEER in association with GANJAM present 'Transmigrations (Fables and India Song)'
Karen Knorr playfully uses digital technology to mix the digital with the analogical. Analogue photography shot on large format cameras is combined with digital photographs of live and dead animals photographed in museum, zoos and nature reserves. The boundaries of the real are challenged by this hybrid. The spectator’s vision may become troubled by the incongruity of the animals photographed together.
Indifferent, the animal remains “other”, a stranger to the context in which it is inserted. The animal is not the real subject of the work nor is architecture. Karen Knorr’s work shows us the incommensurable distance between two worlds: raw nature on the one hand and on the other the cultural site which allows nature entry only in the form of a representation. Although peaceful, the intrusion of the animals’ presence subverts the institution. The work highlights the “against nature” character of the interiors itself.
Beyond the immediate seduction of the photographic images themselves, it is this ambiguity that gives them a particular force.
In Knorr’s “FABLES” the animals are not dressed up to resemble humans nor do they illustrate any explicit moral. Liberated, they roam freely in human territory drawing attention to the unabridged gap between nature and culture. They encroach into the domain of the museum and other cultural sanctuaries which resolutely forbids their entry.
In “INDIA SONG” Karen celebrates the rich visual culture evident in the myths and stories of northern India mainly Rajasthan using sacred and secular sites to highlight caste , femininity and its relationship with the animal world.  She considers men’s space (mardana) and women’s space (zanana) in Mughal and Rajput architecture be it palaces, havelis or mausoleums.

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