Traditionally, media and material in which an art work is executed determines its categorization, value and nomenclature. These lines are becoming exceedingly blurred with contemporary innovations as artists find hybrid ways to respond to a world facing hybrid and complex situations. Now more than ever, artists are blending media, exploding classifications and crossing and pushing boundaries to make art objects, experiences or statements that truly transcend media. Art Musings Gallery and Avid Learning present Art as Generator of Hybrid Practices, a panel discussion on aesthetic, intellectual and material interventions and innovations in art practices today and of the future. Join Textile and Multimedia Artist Smriti Dixit and Trans-Media Artist Baiju Parthan in conversation with Curator, Poet and Cultural Theorist Ranjit Hoskote. This talk marks the beginning of the third iteration of Avid Learning’s Beyond Contemporary Art Series. BCA#3 is presented in conjunction with Art Musings Gallery’s ongoing year-long exhibition, The 20th- curated by Ranjit Hoskote – that celebrates two decades of the gallery.
Baiju Parthan is a pioneer of new media art in India, his earliest hybrid works combining online and offline technologies dating back to 1999-2000. An inter-media artist, he works simultaneously with painting and digital technology-based installation art. His oeuvre focuses on the collisions and intersections between world-views founded on opposed ideologies, and the effect that these processes have on our consciousness and existence. Human history, to Parthan, is an anthology of the trajectories, traces, and debris left behind by such collisions and intersections. Parthan's shapes his vocabulary from symbols drawn from ritual, iconography and alchemy, elements culled from metropolitan graffiti and computer games, and archival as well as contemporary photographic images. He brings these together into immersive, multi-layered experiential dreamscapes. In the digital realm, he explores the constantly mutating interstices where virtual and real bleed into each other, obliging us to consider new definitions of the human/ cyborg subjectivity. Through computer-generated virtual objects presented in video installations, large-scale prints on metallic surfaces, and lenticular prints, Parthan critiques high technology and its pervasive re-configuration of our lived reality. Parthan has participated in many landmark exhibitions including Kapital und Karma (Kunsthalle Wien, Vienna, 2002) and Under Construction (Japan Foundation, Tokyo, 2002), and has held many solo exhibitions including Source Code (2006) and Necessary Illusions (2016) at Art Musings, Mumbai. Two books have been published on his work: Baiju Parthan: A User’s Manual (Afterimage, 2006) and Baiju Parthan: Reset (Afterimage, 2016).Read more
Smriti Dixit graduated with a BFA from the Maharaja Sayajirao University, Baroda, and is a classically trained vocalist. Dixit has long been committed to processes of recycling in her art, incorporating textile materials, found objects, plastic price tags and other elements of the detritus of everyday life into her art-works. She insists in giving visibility to the techniques and processes of women’s work, to labour that has long been rendered invisible in patriarchal systems of production, which remain premised on an artificial division between the home, regarded as domestic (female) space, and the workplace, sacralised as the proper context for (male) work. Dixit uses the techniques of stitching, embroidery, knotting and quilting. Her materials are chosen from fabrics and plastics of varying colour and texture. The cosmic drama of birth, dying and regeneration are performed through her artistic activity and its outcomes, and the space that it occupies and extends even as it extends itself. Smriti Dixit’s site-specific installation, ‘Web’, is installed at the Jaya He GVK New Museum/ Airport Art Project. Dixit has participated in a number of exhibitions in India, the UK and the USA. Her solo shows at Art Musings include ‘Exile from Symmetry’ (2007), ‘Feasting and Fasting’ (2012) and ‘Memory of Red’ (2015). She has presented solo projects with Art Musings at the India Art Fair, New Delhi (2013, 2014). Among her international exhibitions are ‘Stitching Together’ at Aicon Gallery, Palo Alto (2006), and a solo at the Galerie Stephan Witschi, Zürich (2014). She participated in the Bharat Bhavan Biennale (2010, 2016). Her installation, 'Hibiscus River', was featured in the 2018 edition of the Serendipity Art Festival in Goa. She has received the S H Raza Award for Art (2004) and the Pollock Krasner Grant (2013). The artist lives and works in Mumbai.Read more
Ranjit Hoskote has been acclaimed as a seminal contributor to Indian art criticism and curatorial practice, and is also a leading Anglophone Indian poet. He is the author of more than 30 books, including Vanishing Acts: New & Selected Poems 1985-2005 (Penguin 2006), Central Time (Penguin/ Viking 2014), and Jonahwhale (Penguin/ Hamish Hamilton 2018); and the monographs Zinny & Maidagan: Compartment/ Das Abteil (Museum für Moderne Kunst, Frankfurt/ Walther König 2010) and Atul Dodiya (Prestel 2014). Hoskote curated India’s first-ever national pavilion at the Venice Biennale (2011). He co-curated the 7th Gwangju Biennale with Okwui Enwezor and Hyunjin Kim (2008). He was co-convenor, with Maria Hlavajova, Kathrin Rhomberg and Boris Groys, of the exhibition-conference platform Documents, Constellations, Prospects (Haus der Kulturen der Welt, Berlin, 2013). He co-curated, with Rahul Mehrotra and Kaiwan Mehta, the exhibition-conference platform The State of Architecture: Practices and Processes in India (National Gallery of Modern Art, Bombay, 2016).Read more