ART EXHIBITION "Vanity Fair" Recent body of works by Bangladeshi artist Tayeba Begum Lipi > 28th January to 1st March 2019

Venue : Shrine Empire Gallery, D 395, Defence Colony

Artworks by Tayeba Begum Lipi 

Time : 
28th January : 6:00 pm Add to Calendar 28/01/2019 18:00 28/01/2019 20:00 Asia/Kolkata Opening of "Vanity Fair" Recent body of works by Bangladeshi artist Tayeba Begum Lipi Event Page : https://www.delhievents.com/2019/01/art-exhibition-vanity-fair-bangladeshi-tayeba-begum-lipi-shrine-empire-gallery-defence-colony.html Shrine Empire Gallery, D 395, Defence Colony, New Delhi 110024 DD/MM/YYYY - Inauguration 
29th January to 1st March : 11:00 am - 6:00 pm (Sundays closed) Add to Calendar 29/01/2019 11:00 01/03/2019 18:00 Asia/Kolkata ART EXHIBITION "Vanity Fair" Recent body of works by Bangladeshi artist Tayeba Begum Lipi Event Page : https://www.delhievents.com/2019/01/art-exhibition-vanity-fair-bangladeshi-tayeba-begum-lipi-shrine-empire-gallery-defence-colony.html Shrine Empire Gallery, D 395, Defence Colony, New Delhi 110024 DD/MM/YYYY - Exhibition on View

Entry : Free

Venue : Shrine Empire Gallery, D 395, Defence Colony, New Delhi 110024
Venue Info : www.shrineempiregallery.com | Map | Nearest Metro Station - 'Lajpat Nagar(Violet Line)'

Event Description : ART EXHIBITION "Vanity Fair" Recent body of works by Bangladeshi artist Tayeba Begum Lipi

Curated by Anushka Rajendran.

Lipi, who's been actively creating works since the 90's underscoring various feminist concerns in her native Bangladesh and the world at large. She has shown widely both in South Asian and Euro-American contexts, including exhibitions such as the 54th Venice Biennale and the Colombo Art Biennale (2012) and her works are in prominent collections such as the Guggenheim. 

In her latest exhibition 'Vanity Fair', Lipi seeks to extend her iconic use of razor blades to articulate objects associated with domestic labour as well as the implied violence of the skewed social contract that has historically subjected women to the tedium of the household, limiting their movement and extracting their labour for the engorgement of a patriarchal setup that cleverly derails all attempts at subversive correction. Disguised as a shop complete with a trial room, the exhibition attempts to delineate some of these complex economic flows. Traversing some of these circuits from the dismal garment factories in Dhaka to the upscale boutiques in New York, the artist determinedly feels for cracks in the system that might offer possibilities for resistance. 

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