Manu Parekh: 60 Years of Selected Works

Manu Parekh is among India’s best-known modern artists. He received his diploma in Drawing and Painting from J. J. School of Art, Mumbai, in 1962, and has held several solo shows and participated in a number of group exhibitions in India and abroad. He has been Member of the Society of Contemporary Artists, Kolkata; Member of the General Council, Lalit Kala Akademi, New Delhi; and Member of the Advisory Committee, National Gallery of Modern Art, New Delhi. Parekh received an honourary Doctorate in Literature from Rabindra Bharati University, Kolkata, in 2013. He was awarded the President of India’s Silver Plaque and the All India Fine Arts and Crafts Society Award, New Delhi, in 1972; the National Award from the Lalit Kala Akademi, New Delhi, in 1982; and the Padma Shri in 1992. The artist lives and works in New Delhi.

Ranjit Hostoke is a cultural theorist, curator and poet. He is the author of more than 25 books, including Vanishing Acts: New & Selected Poems 1985-2005 (Penguin, 2006) and Central Time (Penguin/ Viking, 2014), and the monographs Zinny & Maidagan: Compartment/ Das Abteil (Museum für Moderne Kunst, Frankfurt/ Walther König, 2010) and Atul Dodiya (Prestel, 2014). Hoskote has translated the poetry of the 14th-century Kashmiri mystic Lal Ded as I, Lalla: The Poems of Lal Ded (Penguin Classics, 2011). With Ilija Trojanow, he has co-authored Kampfabsage (Blessing, 2007; in English as Confluences: Forgotten Histories from East and West, Yoda, 2012). With Nancy Adajania, he is co-author of The Dialogues Series (Popular, 2011), an unfolding programme of conversations with artists. With Maria Hlavajova, he is editor of Future Publics: A Critical Reader in Contemporary Art (BAK, forthcoming). Since 1993, Hoskote has curated 30 exhibitions of contemporary art, including two monographic surveys of Atul Dodiya (Bombay: Labyrinth/ Laboratory, Japan Foundation, Tokyo, 2001; and Experiments with Truth: Atul Dodiya, Works 1981-2013, National Gallery of Modern Art, New Delhi, 2013), a lifetime retrospective of Jehangir Sabavala (National Gallery of Modern Art, Bombay and New Delhi, 2005-2006), a historical survey of Indian abstraction, Nothing is Absolute (with Mehlli Gobhai; CSMVS/ The Prince of Wales Museum, Bombay, 2013), and a survey of 150 years of art by Parsi artists within the narrative of an emergent Indian modernism, No Parsi is an Island (with Nancy Adajania; National Gallery of Modern Art, Bombay, 2013-2014). Over 2000-2002, Hoskote co-curated the trans-Asian collaborative project, ‘Under Construction’ (Japan Foundation: Tokyo and other Asian centres). Hoskote co-curated the 7th Gwangju Biennale (2008) He was curator of India’s first-ever national pavilion at the Venice Biennale (2011). And a jury Member of the 56th Venice Biennale.

Nancy Adajania is a cultural theorist and curator based in Bombay. She is the author of The Thirteenth Place: Positionality as Critique in the Art of Navjot Altaf (The Guild, 2016) and contributor to the multi-author monograph on Sheba Chhachhi, Arc Silt Dive (Tulika, 2016). Over the last two decades, Adajania has analysed the relationship between art and politics by melding an art historical perspective with a politics of culture approach. She was Joint Artistic Director of the 9th Gwangju Biennale (2012) and has curated a number of exhibitions including, most recently, 'No Parsi is an Island' at the NGMA, Delhi (2016) and a cycle of video art for 'Sights and Sounds: Global Film and Video' at the Jewish Museum, New York (2015). In 2013 and 2014, Adajania taught the curatorial practice course at the Salzburg International Summer Academy of Fine Arts. She was research scholar-in-residence at BAK/ basis voor actuele kunst, Utrecht, 2010 and 2013. Adajania has proposed several new theoretical models through her extensive writings on media art, public art, the biennial culture, transcultural art practices, and the relationship of art to the public sphere. She has written consistently on the practices of four generations of Indian women artists.