Fariba Salma Alam, The Night Jurney, mixed media, 3 ceramic tiles, 13 x 18 cm, 2007

 

Atul Bhalla, Water God, archival pigments print, 76 x 76 cm, 2011

Gigi Scaria, Equator, Digital print on archival paper, 88,9 x 241,3 cm, 2011

 

Samanta Batra Mehta, Here I lie in my own separate skin, C-print, 48 x 126 cm, 2010

 

Fariba Salma Alam | Samanta Batra Mehta | Atul Bhalla | Gigi Scaria

EFFETTO INDIA. TRA MEMORIA E GLOBALIZZAZIONE

May 16 - July 27, 2013

 

Effetto India sets out to provide a cross-section of contemporary India through the presentation of four emblematic figures of the new art scene in this country: Fariba Salma Alam, Samanta Batra Mehta, Atul Bhalla, Gigi Scaria. The works exhibited in the gallery represent two key themes that characterize today’s Indian art: a sense of current Indianness , the coexistence between ancient civilization and dynamic society and attention to social change, political awareness. The 4 artists in the exhibition focus their reflection on what it means to be Indian in a society that is embracing globalization, in dramatic metamorphosis, and in a breathless race towards the future, and they direct their attention to the imbalances that economic development produces in the relations between the social classes.

These artists are questioning and at the same time asking us about the meaning of a looming modernity that puts at risk cultural memory and identity.

Gigi Scaria's work focuses on the investigation of the rapid changes of the landscape and on a critique of political, economic and geographical spheres, in particular the everyday reality of Indian megacities.

Atul Bhalla also voices - in his videos, with an important personal and performance presence, such as in I was not waving but drowning (2005) - a critique of relentless urbanization and administrative policies and urban planning beginning with the consideration of water as a fundamental human right.

Inspired by the natural world, history and myth, Samanta Batra Mehta takes up some symbols of traditional Indian iconography, such as the vegetal arabesques used by women to decorate their bodies during religious ceremonies, and redesigns them with the contemporary technique of digital photography.

Finally, Fariba Salma Alam’s installations of small tiles, made through the use of photoceramics, allude to the mosaics of the mosques and are a reflection on the relationship between women’s culture and its changing evolution in recent years.

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