opening: November 14, 2017, 7 pm
duration: November 15, 2017 – January 13, 2018
Sudarshan Shetty’s third solo exhibition at Galerie Krinzinger is set in the main rooms of the gallery. One part shows the installation The Cave Inside, combining sculptures and a one-minute video.
„What is the relationship between an object and consciousness? The ‘Cave Inside’ is an exploration into the internal states of being through memory and familiar world of domestic objects. The underlying artifice of putting on a show of art is at the root of the work that will be exhibited. The artist is performing a role; work is produced and displayed. The role of a
person who lives by remembrance is being assumed in order to act out various imagined situations, either literally or at a poetic distance as an exploration into the efficacy and futility of objects as signifiers for an imagined life.“ (Sudarshan Shetty)
In the other room the artist is screening his one-hour film Shoonya Ghar.
„The Film Film prompts the questions: Who is asleep and who is awake in this city, this home, this settlement, and this fortress of nothingness? What is the relation between building and consciousness? This film involves building and construction alongside characters enacting scenes in which dramatic action mobilizes conventions of representing birth, death, sex, dance, play, music and violence in local traditions of story-telling.“ (from a text by Vyjayathi Rao, 2015)
Sudarshan Shetty (b. 1961) completed his BFA in painting from Sir JJ School of Art, Mumbai in 1985. Moving from painting exclusively to installation early on in his career, Shetty explores the fundamental ontological challenges presented by our immersion in a world of objects. His installations are developed around a rigorous grammar of materials, mechanical exposure and unlikely juxtapositions of things that may belong to culturally distinct spheres. Moreover Shetty’s object language eschews narrative as well as established symbolism. He has exhibited widely in India and around the world. His recent shows include ‘A Song A Story’ for the Rolls-Royce Art Program, 2016, ‘Shoonya Ghar – Empty Is This House’, NGMA, New Delhi and at the 20.Biennale of Sydney, 2016, ‘Mimic Momento’, Galerie Daniel Templon, Brussels, 2015,‘Constructs Constructions’, curated by Roobina Karode, Kiran Nadar Museum of Art, New Delhi, 2015, ‘A Passage’ Staatliche Museum, Schwerin, Germany, 2015 ‘every broken moment, piece by piece’, GALLERYSKE, New Delhi, 2014, ‘Critical Mass’, Tel Aviv Museum of Art, Tel Aviv, 2012, ‘Indian Highway’, Ullens Center for Contemporary Art, Beijing, 2012, ‘The Matters Within: New Contemporary Art of India’, curated by Betti-Sue Hertz, Yerba Buena Center for the Arts, San Francisco, 2011, ‘Paris-Delhi-Bombay’, Centre Pompidou, Paris, 2011, ‘Sympathy for the Devil’, curated by Walter Vanhaerents and Pierre-Olivier Rollin, Vanhaerents Art Collection, Brussels, 2011, ‘India Inclusive’, World Economic Forum, Davos, 2011, ‘Contemplating the Void’, curated by Nancy Spector, Solomon R. Guggenheim Museum, New York, 2010, Vancouver Biennale, Vancouver, 2009, and several others. Sudarshan Shetty was the curator of the Kochi-Muziris Biennale 2016 and also a participating artist in the inaugural edition of the Kochi-Muziris Biennale curated by Bose. Best known for his enigmatic sculptural installations, has long been recognized as one of his generation’s most innovative artists in India.
Exhibitions at Gallery Krinzinger:Curated by_vienna, Sales in the Side Rooms curated by Harald Falckenberg – Krinzinger Projekte, 2015 (Group), The pieces earth took away, Galerie Krinzinger, Vienna (Solo), Indian Highway – UCCA – Ullens Center for Contemporary Art, Beijing, Air Sri Lanka – Krinzinger Projekte, Vienna (2012), Leaving Home, Galerie Krinzinger, Vienna (2008)
German Version
Eröffnung: 14. November 2017, 19Uhr
Ausstellungsdauer: 15. November, 2017 – 13. Jänner 2018
Was ist die Beziehung zwischen einem Objekt und dem Bewusstsein des Betrachters? The Cave Inside ist eine Erkundung des Wesens des Seins durch die Erinnerung und der vertrauten Welt häuslicher Objekte.
Das vermittelt uns Sudarshan Shetty in Form einer Installation bestehend aus einem Video und Skulpturen.
„The artist is performing a role; work is produced and displayed. The role of a
person who lives by remembrance is being assumed in order to act out various imagined situations, either literally or at a poetic distance as an exploration into the efficacy and futility of objects as signifiers for an imagined life.“ (Sudarshan Shetty)
In einem weiteren Raum zeigt er uns den einstündigen Film Shoonya Ghar:
„The Film promts the questions: Who is asleep and who is awake in this city, this home, this settlement, and this fortress of nothingness? What is the relation between building and consciousness? This film involves building and construction alongside characters enacting scenes in which dramatic action mobilizes conventions of representing birth, death, sex, dance, play, music and violence in local traditions of story-telling.“ (aus einem Text von Vyjayathi Rao, 2015)
Sudarshan Shetty (*1961) schloss 1985 sein Malereistudium an der Sir Jamsetjee Jeejebhoy Kunstschule in Mumbai mit einem BFA ab und wechselte schon früh in seiner Karriere von der Malerei zur Installationskunst. In seiner Arbeit ergründet er die grundlegenden anthropologischen Herausforderungen, die unser Eintauchen in eine Welt der Objekte birgt. Seine Installationen entwickeln sich meist anhand einer rigorosen Grammatik von Materialien, direkter mechanischer Beanspruchung und einer unwahrscheinlichen Gegenüberstellung von Dingen, die mitunter komplett unterschiedlichen kulturellen Sphären angehören können. Darüber hinaus verzichtet Shettys Objektsprache gänzlich auf Narrative als auch auf etablierte Symbolik.
Seine Ausstellungshistorie reicht weit über die Grenzen Indiens hinaus.
Zu seinen jüngsten nationalen und internationalen Ausstellungen zählen u.a.: „A Song A Story” im Rahmen des Rolls-Royce Art-Programms 2016, „Shoonya Ghar – Empty is this House” NGMA, Neu Delhi und auf der 20. Biennale von Sydney 2016, „Constructs Constructions“, kuratiert von Roobina Karode, Kiran Nadar, Museum of Art Neu Delhi, 2015, „Passage“ Staatliches Museum, Schwerin, 2015, „every broken moment, piece by piece“, GALLERYSKE, Neu Delhi, 2014, „The pieces earth took away“, Galerie Krinzinger, Vienna, 2012, „Critical Mass“, Tel Aviv Museum of Art, Tel Aviv, 2012, „Indian Highway“, Ullens Center for Contemporary Art, Peking, 2012, „The Matters Within: New Contemporary Art of India“, kuratiert von Betti-Sue Hertz, Yerba Buena Center for the Arts, San Francisco, 2011, „Paris-Delhi-Bombay“, Centre Pompidou, Paris, 2011, „Sympathy for the Devil“, kuratiert von Walter Vanhaerents und Pierre-Olivier Rollin, Vanhaerents Art Collection, Brüssel, 2011, „India Inclusive“, World Economic Forum, Davos, 2011, „Contemplating the Void’, kuratiert von Nancy Spector, Solomon R. Guggenheim Museum, New York, 2010, Vancouver Biennale, Vancouver, 2009, und viele andere mehr.
Sudarshan Shetty war der Kurator der Kochi-Muziris Biennale 2016 und auch teilnehmender Künstler der Eröffnungsausgabe der Biennale kuratiert von Bose. Vor allem bekannt für seine enigmatischen, skulpturalen Installationen, hat sich Shetty als einer der innovativsten indischen Künstler seiner Generation etabliert
Ausstellungen in der Galerie Krinzinger: Curated by_vienna, Sales in the Side Rooms curated by Harald Falckenberg – Krinzinger Projekte, 2015 (G), The pieces earth took away, Galerie Krinzinger, Vienna (E), Indian Highway – UCCA – Ullens Center for Contemporary Art, Beijing, Air Sri Lanka – Krinzinger Projekte, 2012 (G), Leaving Home, Galerie Krinzinger, 2008 (E)
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