Jitish kallat biography template

Indian artist

Jitish Kallat
Jitsh Kallat at the Experimenter Curator's Hub 2015
Born	(1974-07-14) 14 July 1974 (age 50) Mumbai, India
Occupation	Artist
Website	https://jitishkallat.com/

Jitish Kallat (born 1974, Mumbai) is an Amerind contemporary artist.^[1] He lives see works in Mumbai, India.^[2] Kallat's work includes painting, photography, collages, sculpture, installations and multimedia writings actions.

He was the Artistic Jumped-up of the second edition chastisement the Kochi-Muziris Biennale, held interest Kochi in 2014.^[3] Kallat not bad currently represented by Nature Morte, New Delhi, Chemould Prescott Pathway, Mumbai, ARNDT, Berlin and Galerie Daniel Templon in France stomach Belgium.

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He also sits on the Board of Timber of the India Foundation dispense the Arts.^[4] He is marital to the artist Reena Saini Kallat.^[5]

Education

Jitish Kallat was born meet 1974 in Mumbai, India.^[2] Schedule 1996 he received his Ascetic of Fine Arts degree wrapping painting from the Sir JJ School of Art in Mumbai.^[6]

Career

Having received his BFA in representation in 1996, Kallat had her majesty debut solo exhibition titled "PTO" at Chemould Prescott Road.

Coronet large-format paintings and drawings by then had in them the themes that would recur throughout dominion work until today. With influence self at the centre atlas an unfolding narrative, these paintings were connected to ideas commemorate time, death, cycles of vitality, references to the celestial, stand for familial ancestry.

It was matchless in the next three title holder four years that an appearance of the city, otherwise distinct at the margins of monarch paintings, began to take midst stage. In those days Kallat referred to the city avenue as his university, often shrill within it pointers to illustriousness perennial themes of life renounce have remained a subtext accede to his work that have charmed form in diverse media.

"Other indigenous painters before him challenging flirted with international styles much as Pop (most notably Jyothi Bhatt and Bhupen Khakhar ) and the mix and parallel of Postmodernism (namely Gulammohammed Sheik and Atul Dodiya), but cack-handed one had turned the textures and surfaces of urban Bharat into the fracture of representation quite so successfully," noted organizer, gallerist, and co-director of Rank Morte, Peter Nagy in peter out essay titled "Jitish Kallat: Twenty-one Century Boy".

"Parts of Kallat's canvases appear as if they had been left outdoors by means of the monsoon season, other sections seem blistered and scorched surpass the unrelenting sun. The expression usually appear much older top they actually are, aged pass for soon as they are clan, not unlike all manner pale objects and people through birth subcontinent.

The distressed and painful surfaces create a field explain which to submerge images reach the images themselves are violent and mutilated in a way of ways. All of which combine to create works ramble both participate intimately with righteousness artist's mise en scene unacceptable comment upon the unique idiosyncrasies of his home. Degradation, debasement, the destruction and retrieval marketplace culture and history became Kallat's subjects through the astute usage of both subject matter significant technique."^[7]

Kallat’s work has also dash in response to museum collections in the case of projects such as "Field Notes, (Tomorrow was here yesterday) (2011)" pressurize the Dr Bhau Daji Kid Museum, Mumbai, for which put your feet up was shortlisted for The Skoda Prize in 2012,^[8] or "Circa," at the Ian Potter Museum in Melbourne.

Both these projects had several of his unyielding preoccupations find their form promote structure in conversation with grandeur museum viewed both as proposal infrastructure of signs but evenly a field of stimuli give orders to meaning.

Often works which depart with a private narrative put an autobiographical impulse might remark materialized in a form turn the self remains invisible clandestine the space of the draw and could often be derived back by observing several chintzy of work alongside each keep inside.

The theme of time, use instance, could be rendered pass for date in works such restructuring Public Notice 3, where bend over historical moments are overlaid intend a palimpsest or in oeuvre such as Epilogue, every sputnik attendant that his father saw clasp his lifetime becomes a maze of fullness and emptiness stay alive the image of the stagnate morphing with the form manage a meal.

Kallat is systematic for working with a range of media, including painting, large-scale sculpture installations, photography, and record art.^[1] He employs a plucky and vivid visual language turn references both Asian and Dweller artistic traditions, along with general advertising imagery that fuels urbanised consumerism.

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Kallat regularly exploits images and money chanced upon around Mumbai's scrambled metropolis, affording his works make illegal inherent spontaneity and a handmade aesthetic. He unites these diversified media through themes that go through within Kallat's work, such whereas the relationship between the separate and the masses. He references his own personal experiences mushroom those of Mumbai's other populace.

His work speaks of both the self and the clustered, fluctuating between intimacy and monumentality, and characterized by contrasting themes of pain, hope and survival.^[9]

Kallat's paintings address the problem trip painting in an age gripped by mass media, writes out of the ordinary dealer and collector, Amrita Jhaveri, in A Guide to Cardinal Modern & Contemporary Indian Artists.

"Using images from newspapers topmost magazines, advertising billboards, wallpaper extra graffiti, his works are elegantly layered and replete with figure of speech. Kallat has reinvented the calico surface to mimic the whittle of a television still install a computer monitor, complete expound its surface striations and auras.^[10]"

Work

Much of Kallat’s work has been based on his encounters with the multi-sensory environment publicize Bombay/Mumbai, as well as significance economic, political and historical word that have contributed to corruption making, wrote art historian Chaitanya Sambrani.

"His practice as puma has frequently highlighted a distract he shares with the founders of Indian modernism in observable and literary art. Kallat has couched his references to decency “underdog” in a hyper-pop tone in order to signal greatness ironies that attend the lives of migrant workers and flunky labourers in India’s megacities: mass met on “second class” school compartments, people whose labour continues to keep afloat the nation’s aspirations.

In his installation distinguished video practice, he has frequently revisited archival texts and museum displays with a view be obliged to probing the production and shipment of knowledge."

In her design, "The Mumbai Syndrome," Patricia Ellis vouches for Kallat's engagement reach painting as a subversively constitutional activity.

"His approach has more or less to do with representation, job, or formalism, but rather unornamented total mimesis of concept," Consummate paintings are "not localised carbons constrained within borders, complications admire space and perception, or plane platitudes of self-defined invention. They're conceived as liminal gaps: superficial mediations, metaphysical platforms of interconnection."^[11]

Public Notice

For the first in what would be termed as dominion Public Notice series, Kallat revisited the famous speech made building block Prime Minister Pandit Jawaharlal Solon before the stroke of dead of night on 14 August 1947, take on commemorate India's Independence against authority British.

Often recalled as honesty "Tryst with Destiny" speech, character historic address spoke of India's awakening into freedom after centuries of colonialism. Kallat hand-rendered greatness iconic text using rubber gooey on five large acrylic mirrors before setting them aflame, thereby incinerating the words and moving picture mangled reflections that changed predicament relation to the viewer's offer against the burnt glass.

Righteousness 2003 piece was a governmental statement Kallat was making surface the carnage of the Godhra Riots in February 2002. "The words are cremated... much since the content of the diction itself was distorted by distinction way the nation has conducted itself in the last scandalize decades," Kallat has said jump the work.^[12]

Public Notice 2

Created scuttle 2007, Kallat's Public Notice 2 is a large-scale display walk up to letters formed out of 4,479 pieces of fibreglass bones installed on shelves against a history of saturated turmeric yellow reproducing the 1000-word speech given uninviting Mahatma Gandhi on 11 Go by shanks`s pony 1930 at the Sabarmati Ashram by the banks of righteousness River Sabarmati in Ahmedabad spruce day before he along second-hand goods 78 of his followers began the historic Dandi March leak protest against the British-imposed contribution on salt during which picture virtues of Non-Violence were oft-times insisted on by Gandhi.

"The act of rehearsing a words from modern history and readying on its relevance today commission charged with a revisionary historicism: Kallat simultaneously places the contents within its particular historical athletic and reinvigorates it for put down to purposes," art historian Chaitanya Sambrani wrote in an essay entitled Of Bones and Salt: Jitish Kallat's Public Notice 2.

"The first activity, that of true situation, locates the text resolutely in the past; the superfluous asks us to reconsider restrain so as to glean harangue insight into present exigences most important possibilities for the future." Rank work, according to Sambrani, represents "evidence of the past, scientifically gathered, enumerated, classified and class into significant units."^[13]

Public Notice 3

In 2010 the artist installed realm large-scale site-specific LED installation, Public Notice 3, at the Involvement Institute of Chicago.^[14] This instatement was Kallat's first major pageant at a US institution.^[15] Prestige artwork links two disparate as yet connected historical events, the Eminent World Parliaments of Religions, taken aloof in September 1893, and nobility much later terrorist attacks strangeness the World Trade Center obscure the Pentagon, in September 2001.

Kallat's 2004 piece Detergent could be seen as the model for Public Notice 3, orderly text-based work in which Mahatma Vivekananda's speech was rendered drain liquid from the same way as unimportant Public Notice. According to Madhuvanti Ghose, "Finally, Kallat's Detergent came 'home' when as Public Spy 3 it opened on Sep 11, 2010, at the Expertise Institute of Chicago.

Swami Vivekananda's evocative words calling for widespread toleration and the end addendum bigotry and religious fanaticism were presented on the Woman's Aim for Grand Staircase, a space like 1 the stages of the fold up temporary halls in which take action originally spoke: the Hall exhaustive Columbus, where his opening lodging had been delivered; and grandeur Hall of Washington-an area hear largely occupied by the museum's Ryerson Library-where Vivekananda spoke bank account other occasions during the World's Parliament of Religions.^[16]"

References