"Error 404" a solo exhibition of paintings & sculptures by Artist Arun pandit at Vis-a-Vis Gallery, 2, North Drive, DLF Chhatarpur Farms, Khasra No.755/212 > 11am-7pm on 11th to 26th October 2013
Time : 11:00 am to 7:00 pm
Entry : Free
Place : Vis-a-Vis Gallery, 2, North Drive, DLF Chhatarpur Farms, Khasra No.755/212, New Delhi – 110074
Venue Info : www.visavisindia.com | North Drive Map | Nearest Metro Station - 'Chhatarpur(Yellow Line)'
Event Description : 'Error 404' a solo exhibition of paintings and sculptures by Artist Arun pandit.
Curated by Hardeep Gupta & Amit Gupta
Half Art-Half
Materials
“A contemporary painting or sculpture is a species of centaur—half art materials half words.” Harold Rosenberg
It was at the National Lalit Kala Art Exhibition at Kolkatta that I first espied the graphic strength and elegiac power of artist ArunPandit. His last show at the Visual Arts Gallery in Delhi was yet another milestone in the evolution of a sculptor who uses personal experience to create sculptures that speak in the rhythm of the human metaphor.Now looking at Pandit’s works in this show he recalls the words of Harold Rosenberg even as he creates images that are blurred in the light of the internet frustrations and experiences that happen s we are faced with the kinetic words:Error 404.Arun explains his experience and his journey.“ For me the internet experience is a kind of disorientation which is the beginning and end , and in that way it’s like a closed question, that operates in a basic perceptual textbook in the human psyche, which also tells the reader, “You see the image one way, and if you turn it in space then it becomes different experientially.” But in my work I also have a peculiar kind of disorientation that comprises the entirely of the invitation to the viewer because it engenders in him or her a level of curiosity like never before.”To the term curiosity we can also add the word openness. We may not feel curious, but there is something there that we want to figure out. I think that Pandit’s work is about analysis . He doesn’t want the sculptural pieces to be an act of analysis by themselves. He wants the pieces to be the collective conscious clump that his art is analyzing. Whether it be the couple reading the newspaper,or the mirrored bull he wants all the aspects that he is juxtaposing to be pushing against each other at once and as a unit.Pandit says: “ I’m not interested in taking things apart, I’m interested in what happens when they stay together, when they are together.”
The new age seems to have given us an inundation of commercially driven images and experiences.Pandit also says that this digital connectivity which followed has created a global community that is a melting pot of all that is visually saturated. In an art world distinguished above endless image making-endless marketingand endless talk—much of it generated, by artists—and the media , it falls to such astute critics of relational esthetics as Claire Bishop to remind us of the importance of “drawing attention to the work of art as an intermediary object, a ‘third term’ to which both the artist and viewer can relate.” Verbal language has, arguably, jumped onto the wagon of unending and recurrent visuality.And Pandit states that he has always been fascinated by questions; “ I very quickly realized I was not as interested in answering those questions as I was in seeing where they led—that is to say, the questions that those first questions pointed at, the next set of questions, and the next set of questions after that, were what drove me. I believed that the jump of constant questioning was the strength of my own life and all its predicaments, that keeping the questioning going was its point. My aim then was to land in a place different from where you expect to land.”
Pandit’s works take us to the questions that spring from the whys and wherefores of creating art .Two years ago Pandit had said: “ I’m always interested in questions that I cannot answer. I don’t even want to answer them. But it is the tension that is generated in the questions that becomes the subject of my creation and frustration. “ Tension is the tool that has always been what I’m after—excitement, frission,the friction between self and mind,between the created and the moment of combustion.When I create the casts I am always centered around the movement –as if there is the unanswered-ness of the unanswered question.”
Looking at his works it also seems as if Pandit wants to take that even a step further. In today’s world of production and assemblage stereotypes there are a lot of artists who would say something about wanting to pose a question that can’t be fully answered, at least within language. Bull –done with error seems to typify that engagement most aptly.No matter what he creates Pandit’s sculptures seek to arrest your gaze,with the silent power of gesture,it is as if he wants to usher in a new visual vernacular. And this is why he embraces the visual styles he saw in creating works that utilize abstract, cubistinspired forms to celebrate the energy of man and industry in the modern era.In his last show he had said: “When I see the tall buildings I think of how man keeps multiplying and also wants to destroy,because farmland and agriculture have given way to these tall city buildings that eat up all resources,even water and electricity and powe.” These sculptures seem to ideate his own melancholic strains to visually articulate these influences. At best the sentinel piece in this show is the Bull series because it harks back to a luscious,Shakespearan entendre fills the masterfully abstracted human/animal landscape, in which the artist argues for a reconsideration of human expressionism.And this work harks back to the times when a sculpture could be a souvenir of thought. "For me my art is that kind of art which is created as one of the major symptoms of what's wrong with the age. The disintegration and, finally, the disappearance of recognizable images in painting and sculpture are supposed to reflect a disintegration of values in society itself.’
The power of this show lies in its ability to draw the viewer into its maw. Pandit also draws our attention to the image of art as a tool-because sculpture is part of the larger question of what that tool of thought is used for. It seems to us that much strong art creates worlds, complete wholes. That is what we want from works too. We want to find ways to build situations that can say almost everything while saying almost nothing. We want them to be chunks of reality that contain even larger chunks of reality. Chunks, in artistic terms mean, of everything we react to, clumped combinations of intellectual, emotional, societal values distilled to what it means to us.
Related Events : Exhibitions
Entry : Free
Place : Vis-a-Vis Gallery, 2, North Drive, DLF Chhatarpur Farms, Khasra No.755/212, New Delhi – 110074
Venue Info : www.visavisindia.com | North Drive Map | Nearest Metro Station - 'Chhatarpur(Yellow Line)'
Event Description : 'Error 404' a solo exhibition of paintings and sculptures by Artist Arun pandit.
Curated by Hardeep Gupta & Amit Gupta
Half Art-Half
Materials
“A contemporary painting or sculpture is a species of centaur—half art materials half words.” Harold Rosenberg
It was at the National Lalit Kala Art Exhibition at Kolkatta that I first espied the graphic strength and elegiac power of artist ArunPandit. His last show at the Visual Arts Gallery in Delhi was yet another milestone in the evolution of a sculptor who uses personal experience to create sculptures that speak in the rhythm of the human metaphor.Now looking at Pandit’s works in this show he recalls the words of Harold Rosenberg even as he creates images that are blurred in the light of the internet frustrations and experiences that happen s we are faced with the kinetic words:Error 404.Arun explains his experience and his journey.“ For me the internet experience is a kind of disorientation which is the beginning and end , and in that way it’s like a closed question, that operates in a basic perceptual textbook in the human psyche, which also tells the reader, “You see the image one way, and if you turn it in space then it becomes different experientially.” But in my work I also have a peculiar kind of disorientation that comprises the entirely of the invitation to the viewer because it engenders in him or her a level of curiosity like never before.”To the term curiosity we can also add the word openness. We may not feel curious, but there is something there that we want to figure out. I think that Pandit’s work is about analysis . He doesn’t want the sculptural pieces to be an act of analysis by themselves. He wants the pieces to be the collective conscious clump that his art is analyzing. Whether it be the couple reading the newspaper,or the mirrored bull he wants all the aspects that he is juxtaposing to be pushing against each other at once and as a unit.Pandit says: “ I’m not interested in taking things apart, I’m interested in what happens when they stay together, when they are together.”
The new age seems to have given us an inundation of commercially driven images and experiences.Pandit also says that this digital connectivity which followed has created a global community that is a melting pot of all that is visually saturated. In an art world distinguished above endless image making-endless marketingand endless talk—much of it generated, by artists—and the media , it falls to such astute critics of relational esthetics as Claire Bishop to remind us of the importance of “drawing attention to the work of art as an intermediary object, a ‘third term’ to which both the artist and viewer can relate.” Verbal language has, arguably, jumped onto the wagon of unending and recurrent visuality.And Pandit states that he has always been fascinated by questions; “ I very quickly realized I was not as interested in answering those questions as I was in seeing where they led—that is to say, the questions that those first questions pointed at, the next set of questions, and the next set of questions after that, were what drove me. I believed that the jump of constant questioning was the strength of my own life and all its predicaments, that keeping the questioning going was its point. My aim then was to land in a place different from where you expect to land.”
Pandit’s works take us to the questions that spring from the whys and wherefores of creating art .Two years ago Pandit had said: “ I’m always interested in questions that I cannot answer. I don’t even want to answer them. But it is the tension that is generated in the questions that becomes the subject of my creation and frustration. “ Tension is the tool that has always been what I’m after—excitement, frission,the friction between self and mind,between the created and the moment of combustion.When I create the casts I am always centered around the movement –as if there is the unanswered-ness of the unanswered question.”
Looking at his works it also seems as if Pandit wants to take that even a step further. In today’s world of production and assemblage stereotypes there are a lot of artists who would say something about wanting to pose a question that can’t be fully answered, at least within language. Bull –done with error seems to typify that engagement most aptly.No matter what he creates Pandit’s sculptures seek to arrest your gaze,with the silent power of gesture,it is as if he wants to usher in a new visual vernacular. And this is why he embraces the visual styles he saw in creating works that utilize abstract, cubistinspired forms to celebrate the energy of man and industry in the modern era.In his last show he had said: “When I see the tall buildings I think of how man keeps multiplying and also wants to destroy,because farmland and agriculture have given way to these tall city buildings that eat up all resources,even water and electricity and powe.” These sculptures seem to ideate his own melancholic strains to visually articulate these influences. At best the sentinel piece in this show is the Bull series because it harks back to a luscious,Shakespearan entendre fills the masterfully abstracted human/animal landscape, in which the artist argues for a reconsideration of human expressionism.And this work harks back to the times when a sculpture could be a souvenir of thought. "For me my art is that kind of art which is created as one of the major symptoms of what's wrong with the age. The disintegration and, finally, the disappearance of recognizable images in painting and sculpture are supposed to reflect a disintegration of values in society itself.’
The power of this show lies in its ability to draw the viewer into its maw. Pandit also draws our attention to the image of art as a tool-because sculpture is part of the larger question of what that tool of thought is used for. It seems to us that much strong art creates worlds, complete wholes. That is what we want from works too. We want to find ways to build situations that can say almost everything while saying almost nothing. We want them to be chunks of reality that contain even larger chunks of reality. Chunks, in artistic terms mean, of everything we react to, clumped combinations of intellectual, emotional, societal values distilled to what it means to us.
Related Events : Exhibitions
"Error 404" a solo exhibition of paintings & sculptures by Artist Arun pandit at Vis-a-Vis Gallery, 2, North Drive, DLF Chhatarpur Farms, Khasra No.755/212 > 11am-7pm on 11th to 26th October 2013
!["Error 404" a solo exhibition of paintings & sculptures by Artist Arun pandit at Vis-a-Vis Gallery, 2, North Drive, DLF Chhatarpur Farms, Khasra No.755/212 > 11am-7pm on 11th to 26th October 2013]()
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Saturday, October 26, 2013
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