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The Saatchi Gallery

in partnership with Phillips de Pury & Company

THE EMPIRE STRIKES BACK:


INDIAN ART TODAY

PICTURE
BY
PICTURE
GUIDE
Media Partner
The Saatchi Gallery
in partnership with Phillips de Pury & Company

THE EMPIRE STRIKES BACK:


Indian Art Today
Gallery 1 Gallery 2
Jitish Kallat Bharti Kher
Public Notice 2 2007 An Absence Of Assignable Cause 2007
4,479 fibreglass sculptures dimensions variable Bindis on fibreglass 168 x 308 x 150 cm
Public Notice 2 recalls the historic speech delivered by Mahatma In part inspired by artists such as Hieronymus Bosch, Francisco Goya
Gandhi, on the eve of the epic Salt March to Dandi, in early 1930 as a and William Blake, Bharti Kher references magical beasts, mythical
protest against the salt tax instituted by the British. Through this speech monsters and allegorical tales in which they might feature in her work.
he lays down the codes of conduct for his fellow revolutionaries, calling The blue sperm whale is one of the world’s largest animals. Unable to
for complete civil disobedience, the only fierce restriction being that of find sufficient scientific documentation about its anatomy, Kher invented
maintaining ‘total peace’ and ‘absolute non-violence’. In Kallat’s work, the appearance of the whale’s heart for An Absence of Assignable
Gandhi’s ardent speech is recreated as a haunting installation with Cause. Created in fibreglass, the artist has decorated the enormous
around 4500 bone shaped alphabets recalling a turning point in the heart and protruding veins and arteries with different coloured bindis.
nation’s history. Each alphabet, like a misplaced relic, holds up the
image of violence even as their collective chorus makes a plea for
peace to a world plagued with aggression.
Bharti Kher
Hungry Dogs Eat Dirty Pudding 2004
Fibreglass and plastic 40 x 100 x 125 cm
Relocating to New Delhi after studying art in Newcastle, England,
Bharti Kher is an artist committed to exploring cultural misunderstand-
ings and social codes through her art practice. Likening herself to the
well intentioned ethnographer investigating her culture, Kher delivers a
very forceful reinterpretation of modern India. In Hungry dogs Eat Dirty
Pudding, a domestic hoover is covered in garish animal skins. These
are the kind of inventive hybrid creations that Bharti Kher has made her
own. Evoking the early work of Swiss artist Méret Oppenheim who
covered a teacup, saucer and spoon with fur, Kher’s sculptural works
appear incredibly surreal in their construction.

Atul Dodiya
Fool’s House 2009
Oil, acrylic with marble dust and charcoal on canvas
243.8 x 152.4 cm
Through his paintings and assemblages, Atul Dodiya engages with
both political and art history in a way that entwines global/public
memory and local/personal experience. In his most recent series of
paintings Dodiya appropriates the images and styles of famous art-
works. By doing this he pays homage to his influences, but also
‘borrows’ their identities through a kind of painting role-play: copying
becomes a form of ‘channelling’ or re-enactment, weaving the master’s
identities and ideas to Dodiya’s own (and vice versa).
Fool’s House is a tribute to Jasper Johns, the American pop artist
renowned for painting generic graphic motifs such as targets, maps
and text fonts. The fragmented composition of this painting – divided
into rectangular shapes – references the design typical of Johns; the
segments of the canvas contain quotes of a Johns map and target.
Dodiya first came to prominence with his paintings done on roll down
security shutters, and in this work he imprints his own history upon his
hero’s, re-conceiving Johns’s international abstraction as a local shop
front. The ‘taped photographs’ in the scene make reference to Johns’s
1984 painting Racing Thoughts which used this device to quip famous
artworks such as the Mona Lisa; in Fool’s House, one of Dodiya’s snap
shots contains an image of Man Ray’s Cadeau, emphasising his
painting as an offering or gift.
Atul Dodiya Reena Saini Kallat
Woman From Kabul 2001 Penumbra Passage (Canine Cases) 2006
Acrylic and marble dust on fabric 183 x 122 cm Acrylic on canvas, bonded marble, wooden box, stainless steel,
velvet, glass Canvas: 135 x 90 cm Steel stand 38 x 122 x 78 cm
Woman from Kabul is a work about living in Afghanistan at the turn of
the new millennium. The artist recalls a country rich in history and re- Penumbra Passage (Canine Cases) comprises of a series of por-
sources that has collapsed under the weight of war. A figure of an traits of ordinary civilians from both India as well as Pakistan, their
elderly woman, stripped of most of her black burka, squats over a very faces blemished by the silhouette of the disputed territory often
decorative backdrop of wall paper. Her body is revealed as skin and referred to as Pakistan Occupied Kashmir. While the portraits are
bones, representative of the oppression and squalor that has become put in grand frames like those of royal descendants, the map of the
endemic of the city. Dodiya’s work is a potent reminder of the plight of land that remains at the core of the dispute between the two neigh-
the refugee. boring countries, casts a shadow on these portraits haunting us
with tales from the region. The corresponding cases carry a range
of weapons that appear more like museum relics, however on
closer observation one finds that they are highly embellished with
life affirming forms. Comprising a set of 32 pieces they collectively
evoke human dentures, resonating with images of the conflict-
ridden region.

Atul Dodiya
Portrait Of Niko Pirosmani (1862-1918) 2005
Enamel paint on laminate board, cotton kurta and cotton pyjamas
on iron hangers 183 x 122 cm
In Portrait of Niko Pirosmani (1862-1918) Dodiya portrays the
Georgian primitivist Niko Pirosmani, who was revered for having in-
vented a new technique of painting during periods of solitude and
poverty. The portrait of Pirosmani initially formed part of Dodiya’s large
scale exhibition ‘Shri Khakhar Prasanna’ which was dedicated to his
friend, the late painter Bhupen Khakhar. Believing that Khakhar was in-
fluenced by Pirosmani, Dodiya wanted to include the Georgian painter
in his show. The artist uses found objects such as the cotton Kurta and
pyjamas which hang over this painting. Here they are dyed a different
colour in tribute to Khakhar, who dyed his kurta pyjamas black so he
could wear them as an apron in his studio.
Gallery 3
Huma Bhabha Huma Bhabha
The Orientalist 2007 Museum Without Walls 2005
Bronze 177.8 x 83.8 x 104.1 cm Clay, wire, wood, styrofoam 89 x 63.5 x 86.4 cm
Bhabha’s The Orientalist conveys ideas of exoticism, difference, and Humorously referencing both tribal masks and modernism, Huma
otherness. Equally primitive and futuristic, Bhabha’s figure theatrically Bhabha’s Museum Without Walls presents the anatomy of a sculpture
poses as an ominous king or deity. Cast in bronze, it sits as an as voodoo construction. Using the traditional materials of sculptural
imposing relic from a fictional history, a regal air emanating from its pol- moulding Bhabha constructs a skeleton of process, her formalist as-
ished geometric armour, molten death mask, and ethereal chicken wire semblage doubling as anthropomorphic entity. Laying bare her media
veil. Humanised through exaggerated hands and feet and sympathetic and their function, Bhabha infuses her work with suggestive narratives.
cartoon styling, its powers waver between the comically surreal and Museum Without Walls stands as both totem and architectural model,
portentously intimidating, drawing narrative suggestion from the loaded
creating a contemporary primitivism from cultural refuse.
clichés of late night science fiction and horror movies.

Huma Bhabha
Sell The House 2006
Mixed media 139.7 x 96.5 x 71.1 cm
Huma Bhabha Central to Bhabha’s work is the idea that materials embody a kind of
Man Of No Importance 2006 mysticism or power that can be activated or enhanced through the
Clay, wire, wood, bones, iron, cotton, fabric, glass artist’s handling. Sell The House is a small sculpture made to the scale
165.1 x 104.1 x 76.2 cm of architectural models or museum relics. Assembled from construction
staples such as wood and bricks the body of her sculpture acts as a
One of the ideals in modernist sculpture was that materials should ‘foundation’ for embellishment. Utilising the aged and weathered quali-
refute illusionary form: rather than trying to ‘trick’ the viewer into ties of her materials, Bhabha heightens their totemic connotations by
believing that metal or clay might actually be flesh or hair, it was thought adding clay to create an animistic form or mask. The ‘unfinished’
that materials should resemble themselves and be material-like. appearance of the sculpture both exposes the artist’s process of
Bhabha draws upon these notions in a contemporary way. Man of No making and the materiality of the construction, framing these as some-
Importance exposes the exact methods of its construction, and the thing cryptic, compelling, and haunting.
worn and brutal qualities of the materials give the sculpture an aura of
ancient ritual and reverence. In Bhabha’s work, however, this ‘hal-
lowedness’ is used to humorous effect as her mythological character,
made from bits of scrap, becomes the physical embodiment of impov-
erishment, temporality, and ideological failure. Huma Bhabha
Untitled Drawing 2007
Watercolour, pastel, pencil, ink on paper, mounted on board
40.4 x 30.4 cm
Huma Bhabha Bhabha’s Untitled Drawing approaches drawing with the physical sen-
Waiting For A Friend 2003 sibility of sculpture. Mounted on board, the image is made more
Threaded steel rod, Styrofoam, wood, clay, paint ‘object-like’ than if it were simply on paper. Bhabha uses a variety of
231.1 x 71.1 x 45.7 cm media, each imparting their own distinct ‘feel’ and texture: indelible
stains of watercolour suggest a poetic fragility underlying thick layers
Approaching sculpture as a form of abjection, Huma Bhabha uses of greasy pastel, opaque ink washes, and gritty graphite residue.
found materials combined with moulded components to create an Bhabha’s physical process of drawing becomes enhanced through the
aesthetic that’s equally industrial and barbaric. Using the rough hewn earthy hues which record the evolution of the piece with a rough,
tactility of her materials, Bhabha’s work exudes a fragile sensibility; organic aesthetic. The strong contrast of light and dark tones creates a
their underlying fictions of lost utopia wittily mirror contemporary deceptive spatial illusion; the abstract image, reminiscent of a mask,
anxiety. Bhabha’s Waiting For A Friend towers as a dejected fertility emerges with the three dimensional intensity of sculptural relief.
totem. Lingering lonely against the gallery wall, its archaic form swells
with expectation: plaster and wax thighs bulging, head exaggeratedly
erect, spilled guts on full display.
Huma Bhabha
Untitled 2006
Clay, wire, plastic, paint 114.3 x 243.8 x 152.4 cm
Working with found materials and constructed forms, Huma Bhabha
reworks the familiarity of everyday objects into creepy inventions.
Something between a primitive species and space alien, her Untitled is
both ghastly and sympathetic. Set atop an altar-like plinth, Bhabha’s
figure prostrates in submissive position. Shrouded in black, hands out-
stretched as if in prayer, it echoes humility and reverence; its aura of
calm perversely interrupted by a rigid tail trailing out from behind.
Gallery 4

Huma Mulji T Venkanna


Arabian Delight 2008 Dream In Dream 2007
Rexine suitcase, taxidermy camel, metal rods, wood, cotton wool, Oil on Canvas 153 x 259 cm (Diptych)
fabric 105 x 144 x 155 cm (open with lid)
From his studio in Baroda, Venkanna remakes two works of
Pakistani born Huma Mulji’s works explore ideas of displacement. Her French painter Henri Rousseau, famed for his fantastical illustra-
preoccupation with cultural difference takes her away from India and tions of jungle scenes and botanical gardens. Rousseau was
Pakistan toward the Middle East and other landscapes. This juncture chastised and then celebrated for his imaginative escapism and
between tradition and the relentless modern thrust across India and early primitive style in Paris. The political and social context of
Pakistan is where Mulji occupies herself with deliberate humour. works Venkanna references are quite different from when they
Arabian Delight, a taxidermied camel forced into a battered suitcase, were made. He re-interprets these imageries and in the process
addresses ideas of the relocation of cultures. The rather crazed critically evaluates the norms existing within contemporary society.
manner in which the collapsed camel is impossibly forced into this suit- Dream in Dream is appropriated from Rousseau’s 1910 painting
case, legs thrown in disarray, is a humorous comment on the perceived titled The Dream. The historical significance of this work is not lost
‘Arabisation’ of Pakistan as another Muslim state. on Venkanna as he intentionally renders it as a post-modern image
with idiosyncratic undertones. In this work, Venkanna replaces the
woman from Rousseau’s original with a nude self-portrait. In the
second panel Rousseau’s verdant jungle becomes animated in
Venkanna’s hands. Turned on its side, the thin canvas takes the
same subject but satirises it using cartoons to the point where the
Huma Mulji panel becomes garish.
Her Suburban Dream 2009
Mixed media 99 x 330.2 x 76.2 cm T Venkanna
Two Moon 2007
In a similar vein, Mulji’s most recent work titled Her Suburban Dream
Oil on canvas 213 x 153 cm
involves another taxidermied animal shown in an unexpected situation.
The concrete water pipe has forced the cow in Her Suburban Dream Two Moon is based on an original work by Rousseau entitled The
into an unnatural and somewhat degrading position at the mercy of hu- Sleeping Gypsy 1897. In his second canvas from the series
manity. These compelling works explore change and disorder in the Venkanna has taken the original scene from Rousseau’s painting
region and beyond. and duplicated it as a repetition of the motifs within the painting
itself. With very deliberate alterations to his canvas, Venkanna’s
sleeping gypsy is both alive and dead, as he paints in a skeleton
where Rousseau had painted a resting figure in multi-coloured
Rajan Krishnan dress. Venkanna’s figure brims with unrequited and unfulfilled lust.
Substances Of Earth 2007 The black moon painted below is a sinister twin of Rousseau’s
Acrylic on canvas 274 x 366 cm paler one, and symbolizes the tragedy of the figure’s former life.
Although his body has turned skeletal in death, his penis, so
Rajan Krishnan’s painted works depict a reclaimed earth after charged with desire, stays alive with lust and remains fleshly, erect
humanity has abandoned it. His series of paintings pay attention to and blackened. The painting also resembles post-war American
the changing landscape, as man-made settings are occupied and painting styles due to the additional red arrows on the surface of
then deserted in the pursuit of something better. Krishnan’s the canvas, crudely labeling the edge of the work.
Substances of Earth is a colossal acrylic painting that offers a dull
palette and stylised forms. Recalling part of the grand-canyon, the
detail shows a vast landmark taken over by animated insects. The
surface appears overwhelmed by these creatures covering the
landscape. Boulders of rock appear to resemble a carcass laid out
on the face of the mountain.
Gallery 5
Tushar Joag Shezad Dawood
The Enlightening Army Of The Empire 2008 The Judge 2007
Installation comprising 16 figures, perspex, plastic, brass, mild Neon, tumbleweed with enamelled aluminium plinth
steel, wood, electric bulbs, wire and mixed media. Figure size:
The neon works reject the rhetoric of a clash of civilisations,
approximately 183 x 49 x 61 cm each
looking at a formal synthesis between East and West. Dawood’s
Tushar Joag is an interventionist and inventor of mock corporate works deliver a very complex set of notions that arise from
identities. He takes a satirical look at the urban classes and symbols that are inherent to the two cultures that Dawood is
suggests that art is responsible for maintaining cultural continuity. familiar with.
This rhetoric leads him to conceive of unicell, a corporate body
of one, that mimics many of the absurdities of government
bureaucracy in a continent reliant upon social and political solu-
tions. The Enlightening Army of the Empire is an installation
comprising sixteen robot style figures that are animated by electric
bulbs and stop lights. This Disney styled army of dishevelled
robots appear to stand to attention holding florescent tube lights as
possible weapons against human kind. Each individual robot is
crafted with a subtly styled, quirky personality. Each of Joag’s steel
figures stands loosely to attention, as their individual light configu-
rations illuminate their location and tangled wires join their feet Shezad Dawood
collectively. The Majestic 2007
Neon, tumbleweed with enamelled aluminium plinth
Shezad Dawood
Dawood describes his attempt to formally represent notions of the
The Bestower 2007
divine as strongly as he represents something of the formlessness
Neon, tumbleweed with enamelled aluminium plinth
and abstraction at the heart of modern America. The dishevelled
London based artist Shezad Dawood’s British and Pakistani roots tumble-weed balls that are anchored into each plinth exist as
are reflected in his works. Appropriating many of his ideas from symbols of time. The sculptures also reference the history of the
modern European and American aesthetics, Dawood generates American West, acknowledging the rise of a new kind of social
a critical examination of identity. This series of sculptures are religion embedded in bold patriotism.
made of neon, entangled in tumbleweed and placed on aluminium
plinths. The Bestower, The Protector, The Judge and The Majestic,
utilise traditional scripts that radiate from the centre of a ball of
tumble-weed, reflecting an element of the divine.

T.V. Santhosh
Tracing An Ancient Error 2007
Oil on canvas 122 x 183 cm
Shezad Dawood Employing the themes of war and global terrorism, South Indian
The Protector 2007 artist T.V. Santhosh paints in lurid greens and shocking orange,
Neon, tumbleweed with enamelled aluminium plinth recreating the effect of a colour photographic negative. The artist
Each of Shezad Dawood’s neon works reflects the artist’s interest charges his large canvases with figures in contoured and compro-
in the ninety-nine beautiful names of God. Each attributed to Allah; mising positions. Like many of his politically motivated
the objective nouns are intended to describe every single aspect of contemporaries, Santhosh lifts pivotal episodes from recent history
the divine. Dawood’s neon works examine Islam as well as the and renegotiates their appearance with a shock-bulb of violent
doctrine of the early American frontier, since both grand ideolo- energy that eclipses the work. Santhosh’s paintings of impending
gieswere born of similarly dry and desolate surroundings. doom, a world at the brink of an atomic end, are intentionally more
apocalyptic than cathartic. Tracing an Ancient Error is an illumi-
nated work of what appears to be a bearded man lain out,
revealing his chest, holding onto something resembling a thread.
An image from recent news events, Santhosh captures this scene
and reinvents its value as a piece of anonymous and charged
history.
Gallery 6
T.V. Santhosh Probir Gupta
Stitching An Undefined Border 2007 Rats And Generals In A Zoological Park 2007
Oil on canvas 122 x 183 cm Acrylic and oxides on canvas 229 x 448 cm
Santhosh has switched positive for negative colours in this work. Probir Gupta’s canvases are enormous in their scale and narrative.
An aged man appears to be operating a machine in a confined A Kolkata art student during the Maoist uprising in India in the
space, standing tall against the projector on a table. The artist early 1970’s, Gupta demonstrated against routine acts of violence
riddles the surface with wisps of illuminated light that fall over the and terrorism. Gupta’s paintings appear as grand history paintings,
image like uncontrollable energy or an explosive force. Santhosh containing intricate details and pulsating backgrounds. In Rats and
often borrows from news images in his works but in representing Generals in a Zoological Park, a sombre looking full-length portrait
them through negative colours, suggests otherwise hidden impli- of Mahatma Gandhi stands robust in front of a coloured version of
cations to be surmised. the Bayeux tapestry. Throughout the work, contoured figures and
morose forms riddle the canvas. With his works, Gupta reorgan-
ises history into something messy, troubling and rueful. Nothing
Jaishri Abichandani appears to take precedence.
Allah O Akbar 2008
Leather whip, wire, paint, Swarovski crystals 65 x 450 cm
Probir Gupta
Allah O Akbar is created from black whips, painted in green and Free Passage 2007
red and mounted against a white wall. The work incorporates the Acrylic and iron oxides on canvas 226 x 396 cm
colours of the Iraqi flag (green, red, black and white) and also uses
the same Kufic script to recreate the phrase or takbir used on the Free Passage has been likened to Pablo Picasso’s 1937 painting
flag and recited by many Muslims. Literally translated the words Guernica. Gupta’s somber figures are depicted in black and white,
mean ‘God is Great’, but as an American opposed to the war in with the words free passage painted across the canvas in Urdu.
Iraq, Abichandani references recent political violence unleashed in The inverted head of the statue of Liberty, camouflaged in army
the country, by using leather whips and Swarovski crystals to form fatigue, emerges from what appears to be a pelvic region to the
this phrase. right of the canvas, as if in birth. The black and white figures
possess a theatrical quality; they are shown witnessing the birth
of an era of intolerance and violence. The forms, appear on the
brink of dissolving, as colour disappears from the foreground and
becomes rooted into the distance.

Probir Gupta
Anxiety Of The Unfamiliar 2006
Acrylic and iron oxides on canvas 268 x 398 cm
In Anxiety of the Unfamiliar Gupta’s figures appear to have trans-
formed into beetles laid out as dreadful corpses. Man, machine
and insect intertwine into incomprehensible forms resembling
scenes from Aldous Huxley’s Brave New World. Beneath these
grotesque figures are a series of miniature negative portraits of
men at the epicentre of significant episodes in India’s politically
charged history.

Probir Gupta
The Bene Israel Family 2006
Acrylic and iron oxides on canvas 229 x 396 cm
Gupta’s portrait of the Bene Israel Family is a thoroughly engaging
examination of the past. The Bene Israel were a group of Jewish
emigrants, who settled in Cochin, in the southern part of the Indian
sub continent, at the turn of the century. Research indicates that
the Bene Israeli community soon rose to prominence and thrived in
the Indian sub continent, at a time when Jewish communities faced
persecution in Europe. In Gupta’s painting, the distorted back-
ground draws on the history of the Holocaust, whilst the Bene
Israel Family emerges from this background in indigenous attire,
as native Indians of the subcontinent. This work displays the
artist’s ongoing examination of identity and social history.
Gallery 7
Kriti Arora Jitish Kallat
Tar Man 5 2008 Death Of Distance 2007
Fibreglass and tar 176 x 72 x 63 cm Black lead on fibreglass, a rupee coin and five lenticular prints
Sculpture 161 cm diameter, prints 46 x 60 cm
Tar Man 5, is a sculpture informed by the working men that Arora
encountered along mountain routes through Kashmir. For Arora, In Death of Distance five lenticular prints bring together contrasting
roads are the social arteries that connect this region to the rest of experiences of living in India today. Each of the panels highlight
the sub-continent. The struggling allegiance of men working tire- two divergent news stories; the launch of ‘one rupee a minute’ tele-
lessly to re-cultivate the land for profitable redevelopment is the phone rates across India and a disturbing story of a girl who
subject of her investigations. Unlike classical Indian statues or committed suicide because her mother couldn’t afford the one
modelled deities, these very ordinary men are covered from head rupee she wanted for a school lunch. A rigid rupee coin is bal-
to toe in a suffocating layer of black tar as a demonstration of the anced on the gallery floor, while the two narratives flip and
almost incomprehensible work that is required to change India. interchange depending on the position of the viewer.
The tar-man is emblematic of a continent seeking social and polit-
ical change. Jitish Kallat
Rickshawpolis 4 2006
Kriti Arora Acrylic on canvas with bronze gargoyles 178 x 274 cm
Tar Man 6 2008 Rickshawpolis 4 is like a vast collision portrait of a thumping,
Fibreglass and tar 185 x 76 x 97 cm claustrophobic city-street. The vehicles collide on the face of the
Tar Man 6 is a mummification of one of the working men that canvas like a mushroomed explosion; battered vehicles are inter-
struggle through the war-torn landscape of Kashmir. The routine mingled with figures that appear to negotiate a way through this
with which they go about their laboured work in extremes temper- chaos and calamity. The painting itself is mounted on bronze
atures is testament to the will of the people to contribute to sculptures that are re-creations of gargoyles that are found atop
change. Arora’s figure appears rooted to the spot, coated in a thick the 120 year old Victoria Terminus Building in the center of
skin of tar smothering his ability to show any expression. The artist Mumbai.
is examining the generation of men working on the road side, as-
signed to the difficult task of reconstruction and repair.
Tallur L.N.
Untitled 2007
Inflatable bed, silicon, latex rubber, medical cot and forceps
275 x 280 x 160 cm
Bangalore born Tallur is an Indian artist who has rarely ventured
Kriti Arora outside India and grew up in the rural community. His works speak
Tools And Boots 2008 of the grinding poverty in the cultivated countryside. Employing
Fibreglass, cloth and tar 130 x 120 cm Indian signs and symbols, Tallur conceives works that are charac-
Continuing her preoccupation with labour, Tools and Boots 2008 teristic of the underbelly of India, while still successfully managing
contains tools of the trade, organised and arranged to bring some to translate the anxiety of his subject matter to a larger audience.
semblance of order to the brutal task that lies ahead of these indi- Untitled contains a hospital bed, with battered and torn bronze
viduals. Black shovels, pick-axes and gloves are all coated with mattresses piled high. Tallur’s work delivers an incredibly de-
thick tar. The installation appears to be consumed by this material, pressing sight and sign of the objects of social utilitarianism. His
used to coat the roads and level the arteries of the mountains for sculptural works are riddled with the agony of laboured situations.
the vehicles that thread through. The inanimate objects in Tools For the artist, there is a pleasurable absurdity in the dishevelled
and Boots have been organised as one might arrange a still-life, traditions of the farmlands and the villages when compared to the
which highlights the humanity that is missing from them. They new American-styled hyper-real cities that function as cash accu-
serve no purpose without the army of men routinely utilizing them mulators.
on cliff-faces and road-sides.

Kriti Arora
Coat And Trousers 2008
Fibreglass, cloth and tar 153 x 102 cm
Blackened coats and heavy trousers operate as the residual skins
of the people employed to build the road-sides. These fibres, orig-
inally coloured and textured, appear stiff and impossible to use as
they are drenched in tar. Hung out to dry by the artist, the tar is too
thick to remove, alluding to the combined and inseparable nature
of the men and their labour.
Gallery 8
Hema Upadhyay Subodh Gupta
Killing Site 2008 Spill 2007
Acrylic, gouache, dry pastel, photograph on paper, aluminium Stainless steel and stainless steel utensils 170 x 145 x 95 cm
sheets, resin 183 x 122 x 61 cm
Subodh Gupta employs many of the original techniques of French
Baroda born and Mumbai based Hema Upadhyay uses photog- conceptualist Marcel Duchamp by elevating the ready-made into
raphy and sculptural installations to explore notions of personal an art object. Gupta chooses signature objects of the Indian sub-
identity, dislocation, nostalgia and gender. Upadhyay’s work Killing continent and relocates them as art objects in monumental
Site draws on the theme of migration and human displacement installations of stainless steel and tiffin-tins. Spill is an overbearing
across Asia. The top of the work is based on Mumbai’s dilapidated work of great scale that has at its centre a larger than life stainless
shanty towns, here appearing upside down and protruding out like steel water vessel, with many smaller steel utensils spilling over
a canopy over Upadhyay’s decorated montage. Upadhyay draws the edge like water pouring out.
on her own personal and family history of migration to express her
concerns and this is expressed through the way she portrays
herself in her works. The upturned slums reference the repercus-
sions and socio-economic inequalities that emerge as a hidden
consequence of the relentless tide of urban development in the
city.

Justin Ponmany Subodh Gupta


Staple Agony II, Plastic Memory 2006 U.F.O 2007
Acrylic and holographic pigment on canvas, diptych 191 x 325 cm Brass utensils 114 x 305 x 305 cm
There is a Darwinian approach to much of Ponmany’s practice, as U.F.O is another work made up of hundreds of brass water utensils
he continually reorganises and reinvents reality. Rebranding by that are soldered together to resemble a flying saucer. This
digitising, Ponmany duplicates figures in electric landscapes that gleaming sculpture is amusing yet pertinent to ideas of sustain-
are stylised beyond comprehension were it not for the reoccurring ability, poverty and notions of otherness. The repetition of forms
markers and motifs of figures and skyscrapers that appear in his and the exaggeration of scale is a common element in Gupta’s
works. Using plastic paints, silver holograms, rich pigments of work.
colour and distorted photographic-negatives, Ponmany is as inter-
ested in the production of his works as he is in the object that
exists thereafter. Staple Agony II, Plastic Memory is a work that
might appear to come from the lyric of a Radiohead song, in which
Subodh Gupta
the solitary shell of a hooded figure is seated at the centre of an
Still Steal Steel #1 2007
enclosed space with what appears to be an industrial staple-gun,
Oil and enamel on canvas 198 x 366 cm
illuminated in orange, floating in the foreground.
Gupta’s painting Still Steal Steel is a strange juxtaposition of a still
life of steel utensils in the fore-ground, with a slightly garish floral
design in the background. Gupta employs the effectiveness of a
hyper-realist palette to suggest that the objects are more real than
reality might allow. Gupta’s configuration of steel utensils along
with the introduction of a floral element appears to reference a
hierarchy of decorative forms.

Subodh Gupta
Untitled (Pot) 2004
Oil on canvas 168 x 229 cm
With Untitled (Pot) Gupta manages to illuminate and elevate his
ready-mades to positions of greater grandeur. His still-life paintings
appear to celebrate objects in space almost as successfully as his
ready-mades do. Row upon row of copper based utensils and
tiffin-tins hang from a kitchen ceiling. Gupta’s paintings transform
the objects to appear more valuable than usual.
Gallery 9
Bharti Kher Mansoor Ali
Untitled 2008 Dance Of Democracy 2008
Bindis on painted board 173 x 311 cm Installation with discarded chairs 427 x 244 x 244 cm
Highly regarded for her sculptural works, Kher has also produced paint- Ali’s free-standing installation of discarded chairs piled high,
ings and installations that challenge cultural and social taboos in India. without direction or reason, balances precariously and may at any
Untitled is composed of multi-layered and multi-coloured bindis. These moment fall to the ground. Ali often employs ready-made objects
numerous circles of coloured felt are concentrated on painted board. A such as the chairs used in this work, which are wrecked and bat-
reoccurring motif in her work, like the wheel rooted to the centre of the tered in their appearance. Rising from its elevated base, Dance of
Indian flag, the bindi is at the centre of social and cultural identity and Democracy appears to stay upright by sheer luck, infusing his art
can be seen as a sign of the marital woman and her place in society. with humour and poignancy.
The bindi also traditionally represents a third eye, linking the spiritual
and material world. In recent times, it has been reformed as a fashion
accessory, available in different colours and shapes. With this work the
artist is signalling a need for social change and challenging the role of
the women entrenched in tradition, whilst also commenting on the com-
moditisation of the bindi as a fashion accessory.

Sakshi Gupta
Untitled (Xerox Machine) 2008
Metal scrap, gears, motors 92 x 150 x 60 cm
Reclaiming the wreckage of an old dilapidated Xerox machine that
appears to have been used to the point of its extinction, artist
Sakshi Gupta appears to have prized the shell apart as though a
forensic scientist, looking over the anatomical organs under the
natural light of the operating theatre. The work redefines useless-
ness as useful; stripped of its conventional productive function, the
work alludes to the impact or consequences of what, in life, is
otherwise hidden from sight. Elevating the machinery off the
ground and positioning its integral parts side by side, Gupta
manages very resourcefully to deliver something quite beautiful
back. This recent work demonstrates Gupta’s ability to scrutinize
reality for opportunities for creativity, even where death and decay
appear much more prevalent.

Chitra Ganesh
Tales Of Amnesia 2002- 2007
21 C-prints
New York based artist Chitra Ganesh studied literature at Brown
and painting at Columbia. For the artist, the comic book appears to
epitomise and perpetuate a perverse sense of good over evil.
Such scenarios are at the centre of classic Indian literature such
as the Ramayana in which men and women indulge in episodes of
absolute and unsolicited power. The stylised simplification of the
comic book style is central to Ganesh’s work Tales of Amnesia
2002-07 in which the audacious female character confronts sub-
scribed notions of compliance in order to explore alternative
models of femininity and power. By rewriting popular history,
Ganesh appears to empower her character Amnesia with an op-
portunity to directly challenge the original fairy tale. For Ganesh,
such preconceived social codes have always been heavily influ-
enced by religion and literature and her work reconfigures these
codes.
Chitra Ganesh Schandra Singh
Secrets 2007 The Lazy River 2006
C-print 122 x 114 cm Oil on linen 229 x 274 cm
Chitra Ganesh’s accomplished illustration is a wondrous scene in Beautifully stylised and helplessly satirical, Singh’s oil works
which reality appears to have been forsaken for something much appear to be preoccupied by the absurdity of social notions of rest
more troublesome. Ganesh’s landscape of tranquil water is littered at a time of incredible unrest. Singh’s large scale paintings on linen
with female forms that appear to come directly from the artist’s depict figures of leisure wrestling with the oddities of the artificial
imagination. Composed of vengeful double heads rooted on hands water pool and inflatable rubber rings. Mocking them for their idle-
with decapitated fingers, adolescent school-girls sprouting from a ness, Singh depicts a landscape as far removed from reality as
tight-fitting skirt and blouse with multiple limbs and a naked figure appears possible and in so doing draws attention to possibilities of
hanging from a forlorn tree with lotus leaves and a hand; Ganesh’s social escape during a time of heightened violence. The Lazy
vivid illustration is born of a deliberate stream of consciousness River is an amusing work of tired and exhausted figures haplessly
and a dream like state that very graphically challenges preconcep- floating as they rest upon inflated clouds of white cushions.
tions of the representation of women.

Schandra Singh
Neha 2008
Oil on linen 274 cm x 183 cm
Chitra Ganesh Neha is a large scale work of a girl standing knee deep in shallow
Hidden 2007 waters, with a recurring logo of a small lobster floating over the
Photographic triptych 61 x 63.5 cm canvas. Singh’s figure appears to resemble a mosaic, composed
of varying shapes and fragments of colour pressing against each
Chitra Ganesh’s photographic triptych Hidden depicts the artist other to formulate her face and body. Unfortunately Singh’s figure
performing bizarre acts of mutilation and mysticism. The timeless appears more perplexed than relaxed and as with all her stylised
backdrop and the indecipherable objects speak of Ganesh’s in- characters resting in these shallow waters, the audience are
terest in the symbolism of classical literature that she actively almost invited to laugh at the absurdity of these cumbersome indi-
critiques in her Amnesia works. Rather than indulging in beauty viduals seeking solace in their artificial surroundings.
and heroic drama, Ganesh exposes herself to the vulnerability of
performing for the camera.

Chitra Ganesh
Twisted 2001
Digital C-print 76 x 52 cm
In Twisted, the artist appears to be twisted on a bed of leaves Ajit Chauhan
deep in the forest, illuminated by artificial light and struggling to ReRecord 2009
find her feet in a strange juxtaposition of beautifully tailored 162 erased record (album) covers 279.4 x 560 cm
costume and contoured body parts. It becomes almost impossible American born Ajit Chauhan, based in San Francisco, is an artist
to rationalise what might have happened to Ganesh’s central char- attempting to subvert our sense of perception by reorganizing ex-
acter and why this figure stretched out appears utterly of another isting visual languages. For one of his most recent body of works
world. The work references notions of the plight of women in entitled ReRecord Chauhan uses old vinyl albums. The work is
modern India and a willingness on Ganesh’s part to refer to very composed of 160 erased record covers pinned together onto a
classical views of women and their subservient role to men. wall, forming unresolved and slightly faded portraits that recall
and highlight the ephemeral nature of things. The record covers
can be seen as a marketing tool and a form of expression. They
are an expression of marketing, which is playfully undermined.
Chauhan’s unresolved portraits are rendered abstract and a
reoccurring absence of detail unsettles any sense of something
more substantial. Chauhan’s playfulness, upon what already
exists, amounts to a work of delicate resolve and mild amusement.
Gallery 10 Gallery 11
Jitish Kallat Rashid Rana
Eruda 2006 Veil Series I, II, & III 2004
Black lead on fibreglass 419 x 169 x 122 cm 3 C prints + DIASEC 51 x 51 cm each
Eruda is a mammoth iconic sculpture of a young boy selling books Rashid Rana critiques culturally constructed, negative stereotypes
on the traffic lights of Mumbai. The children (who could sometimes of women through his work, whether in relation to the sexual
be illiterate) often sell these books authoritatively, playfully en- objectification of women through the pornography industry or in
gaging in conversations about the book’s interest value; their relation to how the burqa is worn and perceived as a political
rigour, audacity and endurance making them mascots for the re- symbol in a post 9-11 era. In Veil I, Veil II & III, Rana depicts an
silience of a city such as Mumbai. Kallat’s sculpture has feet anonymous figure dressed in a burqa. Upon further inspection, the
shaped like homes, forming the quintessential image of a nomad work is actually a fragmented collage made-up of thousands of
whose home is where he lays his feet. Treated in black-lead, small, unfocused pornographic stills of women. By using both
‘Eruda’ ensures that you take back a black stain on your fingers if these representations of gender in a rigid manner, Rana is effec-
you choose to touch him; also black-lead is the softest form of tively destroying them both, forcing the viewer to look beyond them
carbon while diamond remains the hardest. and critique the so-called machinery of truth from which they are
born.

Rashid Rana
Ommatidia I (Hrithik Roshan) (Salman Khan) (Shahrukh Khan)
Jitish Kallat 2004
Annexe 2006 C Print + DIASEC
Black lead, fibreglass, stainless steel base
(Including the base) 145 x 46 x 46 cm Rashid Rana’s work takes its title from the units that form an
insect’s eye, the ommatidia, which individually provide picture ele-
Annexe is a sculpture of a young child, whose upstanding posture ments for the brain to compose an image from. Rana uses digital
suggests a determination to survive. Weighing over his shoulder is images to similar effect in his Ommatidia series, where he takes
a heavy serpentine rope used as a whip with which to lash himself some of the leading actors of contemporary Bollywood cinema,
in order to seek alms. Like Eruda, his feet shaped like homes Hrithik Roshan, Salman Khan and Shahrukh Khan, and re-con-
appear rooted to the spot while his glistening black-lead body structs their portraits from smaller individual elements.
stands on a stainless steel base with a drain, perhaps representing
a punctured sculpture pedestal or the societal gulf between the These renowned figures from contemporary cinema are the stable
veneer of wealth and the perceived stain of real poverty. diet for millions of people in India, Pakistan and throughout the
Indian subcontinent who almost religiously frequent the cinema
and absorb the choreographed dance routines and songs that are
the signature of every musical. Rana draws together hundreds of
smaller crudely cut portraits of young Pakistani men; workers, at-
tendants, shopkeepers, who appear haphazardly photographed by
the artist, in order to compose a kaleidoscopic portrait of each of
these actors.
Jitish Kallat
Untitled (Eclipse) 5 2008 The minute faces look in adulation at their idols. Rana suggests
Acrylic on canvas 229 x 518 cm that these cinematic heroes are the invention of the viewing public,
who invest their own imaginations and desires in the hyper-reality
Kallat’s paintings from the Eclipse series are rendered in the epic that make up the lives of these Indian superstars. The Ommatidia
scale and format of a film hoarding with the hard edge of a propa- Series ultimately subverts and re-appropriates the concept of
ganda poster. The portrait of the city, rendered as a crumbling desire and fantasy world created in Indian film, while pointing out
cascade of countless narratives, interlaces with the overgrown hair the complexity of attempting to fabricate a cultural narrative.
of the children as if they were raconteurs of the city’s inner secrets.
The brimming debris forms a linkage between the heads of the chil-
dren seeming to signify their common overlapping reality.

Jitish Kallat
Untitled (Eclipse) 3 2007
Acrylic on canvas 274 x 518 cm
Similarly in Kallat’s huge triptych Untitled (Eclipse) 3, rays of sun-
shine emanate from the background; the grand radiance that
forms the backdrop for the portraits is in sharp contrast to the car-
icaturesque rendition of the urban detritus brimming out of the
unkempt locks of the children. Thus above their forehead are ren-
dered a thousand colliding stories; perhaps the complex narrative
of 18 million people living on an island of 600 square kilometers
that is Mumbai.
Rashid Rana Yamini Nayar
The World Is Not Enough 2006 - 2007 Being There 2006
C Print + DIASEC 221 x 296 cm C-print 51 x 61 cm
In The World is Not Enough Rashid Rana creates an impossible In Being There, Nayar conceives a miniature room of paneled
image of immense beauty from his personal accumulation of pho- glass and fake columns with coat-hangers and a protruding guitar
tographs of social waste, taken mostly from a landfill site outside handle residing close to the floor. The walls and the floor appear
Lahore, the cosmopolitan city of Pakistan where he lives, as well uneven, resembling a kitsch corner for idle recreation. In the centre
as from the city itself. Reduced to miniature pixels of information, of the photograph is a bamboo stick bent slightly, jutting from the
the details that form the much larger image, of what appears to be wall with a lamp-shade shaped like a beehive. Nayar explains her
the undulating sea, are in fact hundreds of images of trash digitally photographic works as a series of “spaces that question the iconic
‘stitched’ into a non-existent aerial view that bear an uncanny re- in photographic memory, where found images are pivot points for
semblance to the large canvases of non-representational art from imagined, alternate structures.”
the post-war era. A sense of the scale and singularity of man’s
ambition is indicated, not through great feats of industry or the
miracle of science, but through one of the residual by-products of
our age. Here, as elsewhere in the artist’s work, the juxtaposition
Yamini Nayar
of beauty and the macabre forces the viewer into an acknowl-
Sincere 2006
edgement of the politics of the piece. A work that appears on one
C-print 51 x 61 cm
level to represent a notion of ideal beauty is in fact based on a
more troubling examination of the increasing detritus and decay of Nayar’s constructs recall the work of German artist Thomas
the city. Demand, renowned for his paper interiors that, once pho-
tographed, allude to something significant having taken place.
Reena Saini Kallat However unlike Demand’s work, her fictionalised interiors such as
Synonym 2007 Sincere are less a reconstruction from recent history and more a
Acrylic paint, rubberstamps, plexiglas 195 x 134 cm way into the artist’s imagination, in which objects and emblems are
juxtaposed in architectonic niches. The artist uses both made and
The work stands like a screen, holding up a portrait formed by found objects as well as images sourced from cinema, photo-
several hundred names of people, rendered in scripts of over 14 graphic archives and mass media to create these interiors.
Indian languages. From a distance they come together as a
portrait, but up-close they almost seem like a circuit-board of rub-
berstamps. The rubberstamps are made with names of those Yamini Nayar
officially registered as having gone missing in India from different What Is Essential 2006
geographical zones. These include the names of those lost C-print 51 x 61 cm
through natural calamities such as landslides, floods and earth-
Yamini Nayar’s work What is Essential is composed of ready-
quakes, the names of those who have gone missing during riots or
mades juxtaposed into an interesting configuration of modern
large scale mishaps and the names of those abducted or
narrative. A photograph of a parachutist in faded black and white
absconding, with the police still trying to ascertain their where-
is resting between the tiled floor and the laminated fake wooden
abouts. These are people who seem to have slipped out of the
wall. The photograph and the array of porcelain and plastic objects
radar of human communication, who have been thrown off the
appear to be organised as one might arrange a desk. The work ex-
social safety net. The portrait of a sub-continental citizen is formed
plores the intimacy of objects in space, as they reference that of a
by numerous such names; the back of the portrait emerges as a
found photograph central to the composition.
sea of invisible identities, a bird’s eye view of a large human con-
gregation.

Yamini Nayar
Underfoot And Overhead 2008
C-print 76 x 102 cm
Yamini Nayar works with installation and architecture as photog-
raphy, creating imagined, psychologically laden interiors from
found and discarded materials. These installations are destroyed
after the work is photographed, so that the photographic image
serves as a stand-in for the original work. In representing invented
spaces as still images, any sense of scale is concealed from the
audience. The interiors appear destroyed by acts of nature. In
Underfoot and Overhead a dishevelled staircase falls precariously
from a doorway with a thread of foliage hanging over the darkened
entrance. Once inside, a single light-bulb appears to illuminate a
darkened room. The work takes its name from a Rudyard Kipling
poem.
Yamini Nayar Pushpamala N and Clare Arni
Luck Is The Residue Of Design 2007 From The Ethnographic Series Native Women of South India:
C-print 51 x 61 cm Manners & Customs 2000- 2004
Medium set of 45 sepia-toned silver gelatine prints
Luck is the Residue of Design shows a seemingly abandoned
space which the earth appears to have shaken dramatically. The Bangalore based Pushpamala N is a photo- and video-perfor-
delicate shell of walls and floor appear to have cracked under the mance artist who is the subject of her own compositions. In this
weight of temporary motion. The alcove at the back seems to have series of works, the artist explores photography as a tool of
taken some of the force of an act of nature or the weight of some- ethnographic documentation and humorously challenges the
thing man-made. The use of foreshortening creates a sense of authenticity of the photographic image. Created in collaboration
compression and claustrophobia in this imagined interior. with photographer Clare Arni, The Ethnographic Series draws
attention to the choreographed stylistics of early anthropological
studies, enacting and thereby transforming stereotypes of women.
Dressing in period costume, Pushpamala refashions these stereo-
types to subvert and critique the forensic classification of humanity.
The strength of The Ethnographic Series lies in Pushpamala’s wit
Yamini Nayar in reconstructing such scenes and playfully deconstructing them,
Cleo 2009 acting both as subject and object to the camera.
C-print 76.3 x 101.5 cm
A more recent photographic work Cleo (2009) shows a darkened
attic with broken floorboards and an unfinished partition wall with
an eye crudely cut into the back wall. The composition resembles
a scene from a faded horror film. Nayar conceives and then con-
structs scenes of heightened melodrama. Nayar’s works lie
somewhere between post-explosive moments of reality and dream
like scenarios in which humanity has been wiped out.

Yamini Nayar
Study 1 2008
C-print (architectural drawing on photograph) 26.5 x 34.3 cm
By drawing directly onto photographs, Nayar’s 2008 series recalls
the work of French architect Yona Friedman and his portfolio of
working sketches and formal solutions for which he draws and
scores directly onto documentation of pre-existing architectural
spaces. Such inventiveness is at the root of Nayar’s geometric in-
terventions that have her redesigning damaged cityscapes in order
to suggest greater possibilities. In this work, Nayar manages to
invent order out of chaos, to seek sense where there are only the
remnants of destruction.

Yamini Nayar
Study 2 2008
C-print (architectural drawing on photograph) 26.5 x 34.3 cm
Thin white lines are spread very precisely over the surface of the
photograph as the artist uses previous documentation as a place
from which to invent something else. Nayar’s drawings appear to
suggest that she has arrived too late to save this piece of reality
and is instead seeking order in the remains of littered chaos. The
end of everything is the point at which Nayar introduces creativity
to consider what can still be possible.
Project Room Gallery 13 Lower Ground Floor
Emily Prince Richard Wilson
American Servicemen And Women Who Have Died In Iraq And 20:50 1987
Afghanistan (But Not Including The Wounded, Nor The Iraqis Nor Used sump oil, steel Dimensions variable
The Afghans) 2004 to the present
Richard Wilson’s 20:50 is truly a contemporary masterpiece. The
Pencil on color coded vellum Project comprised of 5,213 drawings
work is the only permanent installation at the Saatchi Gallery and
Each image: 4 x 3 in Dimensions variable
has been continuously shown in each of the gallery’s venues since
Emily Prince’s American Servicemen and Women Who Have Died 1991. Currently on display in Gallery 13 – a room custom built for
in Iraq and Afghanistan (but not Including the Wounded, nor the the piece – 20:50 transforms the gallery into a site of epic illusion.
Iraqis nor the Afghans) is a genuinely awe inspiring tribute.
Viewed from the entrance platform 20:50 appears as a holographic
Comprised of over 5100 drawings – each an intimately rendered
field: simultaneously a polished floor, infinite clear pool, an expan-
portrait of a fallen soldier – its scope is beyond rationale as the
sive and indefinable virtual space that clinically absorbs and
statistics of war are re-transformed into real faces, real people:
mirrors the gallery architecture. The room is in fact entirely flooded
identified, mourned, cherished, and remembered. Prince’s work is
in oil.
inspired by a memorial website where families post photographs of
their loved ones killed in action. She visits this site several times a Visitors are invited to examine the piece close-up via a walkway
week and makes drawings for every update; those without photos that extends into the lake, placing the viewer, waist deep, at the
are represented by an empty square labeled with the individual’s centre of a perfect mathematically symmetrical scope. Through
name and other biographical information. this altered perspective 20:50’s phantasmical aura is enhanced,
amplifying the disorientating and mesmerising experience of the
Rendered in pencil on small uniform cards, each portrait is an
space, and further confounding physical logic.
attempt to ‘see’ each individual: through studying their facial fea-
tures, posture, and expression, and noting personal details such as 20:50 takes its name from the type of recycled engine oil used.
their name, age, and place of origin. The coloured paper indicates It is thick, pitch black, and absolutely indelible: please take extreme
the soldiers’ ethnic origin, further enhancing their individualism, care with your clothing and belongings, and no matter how
and illustrating the socio-economic factors which play a part in tempting, please do not touch. 20:50 often has to be demonstrated
American military recruitment. Through this humble ritual, Prince to be believed: the liquid can be seen by blowing very gently on the
pays her respects and creates an astounding visual record of surface.
every soldier killed in action since 2004.
The installation was originally hung in 2005 at the Yerba Buena
Center for the Arts, San Francisco before being installed in the
Arsenale of the Venice Biennale in 2007 in the shape of a 14
metre long US map, with each portrait positioned according to the RICHARD WILSON
soldier’s hometown; however, in the two short years since this
showing, US troops have suffered casualties at an alarming rate: 1953 Born in London, UK
the vast number of new drawings makes this format of presenta- Lives and works in London, UK
tion impossible. The project is now installed in chronological order,
as it was at the Wanas Centre in 2009, mirroring the Honor The
Fallen page on www.militarycity.com. This fills 3 entire walls of the
Saatchi Gallery, and spans 40 metres. Its sheer incomprehensible
scale resolves as a moving and powerful protest.
Exuding an overwhelming obeisance and dignity in its simplicity,
the project breaks down the abstract enormity of war into count-
able, personal, knowable human terms. Its immense scale is
commensurate with the enduring public monuments of past wars. EMILY PRINCE
Its meek construction in pencil and paper, however, does not point
to glory and grandeur, but rather a tender fragility and imperma- 1981 Born in Gold Run, California, USA
nence, recording history’s making, its collective heroicism and loss, Lives and works in San Francisco, USA
with touching and rarefied intimacy.
American Servicemen and Women Who Have Died in Iraq and
Afghanistan (but not Including the Wounded, nor the Iraqis nor the
Afghans) is an ongoing project which will not be complete until
American involvement in the conflicts in Iraq and Afghanistan ends.
The project is ongoing and of note, 2100 drawings have been
added since it’s initial presentation in Venice.

Text © Rajesh Punj


Text on Huma Bhabha, Emily Prince and Richard Wilson © Patricia Ellis
Printed by ArtQuarters Press, London
Artist biographies
JAISHRI ABICHANDANI MANSOOR ALI BHARTI KHER RAJAN KRISHNAN

1969 Born in Mumbai India 1978 Born in Jasmatpur, Gujarat, India 1969 Born in London, UK 1967 Born in Kerala, India
Lives and works in New York, U.S.A. Lives and works in Baroda, India Lives and works Delhi, India Lives and works in Kochi, Kerala, India

KRITI ARORA HUMA BHABHA HUMA MULJI PUSHPAMALA N

1972 Born in Delhi, India 1962 Born in Karachi, Pakistan 1970 Born in Karachi, Pakistan 1956 Born in Bangalore, India
Lives and works in Delhi, India Lives and works in Poughkeepsie, Lives and works in Lahore, Pakistan Lives and works in Bangalore, India
New York

AJIT CHAUHAN SHEZAD DAWOOD YAMINI NAYAR JUSTIN PONMANY

1974 Born in London, UK 1974 Born in London, UK 1975 Born in Rochester, New York, U.S.A. 1974 Born in Kerala, India
Lives and works in London, UK Lives and works in London, UK Lives and works in New York, U.S.A. Lives and works in Mumbai, India

ATUL DODIYA CHITRA GANESH RASHID RANA TV SANTHOSH

1959 Born in Bombay, India 1975 Born in New York, U.S.A. 1968 Born in Lahore, Pakistan 1968 Born in Kerala, India
Lives and works in Bombay, India Lives and works in Brooklyn, New York Lives and works in Lahore, Pakistan Lives and works in Mumbai, India

PROBIR GUPTA SAKSHI GUPTA SCHANDRA SINGH TALLUR L.N

1960 Born in Calcutta, India 1960 Born in Calcutta, India 1977 Born in Suffern New York, U.S.A. 1971 Born in Karnataka, India
Lives and works in New Delhi, India Lives and works in New Delhi, India Lives and works in Poughkeepsie, Lives and works in India and South Korea
New York, U.S.A.

SUBODH GUPTA TUSHAR JOAG HEMA UPADHYAY T VENKANNA

1964 Born in Khagaul, Bihar, India 1966 Born in Mumbai, India 1972 Born in Baroda, India 1974 Born in Mumbai, India
Lives and works in New Delhi, India Lives and works in Mumbai, India Lives and works in Mumbai, India Lives and works in Mumbai, India

JITISH KALLAT REENA SAINI KALLAT

1974 Born in Mumbai, India 1973 Born in Delhi, India


Lives and works in Mumbai, India Lives and works in Mumbai, India
Phillips de Pury & Company Gallery

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GALLERY 9 GALLERY 6
SAATCHI GALLERY / SUNDAY TELEGRAPH ART PRIZE FOR SCHOOLS
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LEVEL 1 GALLERY 8 GALLERY 7 and display artwork created by pupils between 4-18 years old.
A panel of leading art critics invited by the Sunday Telegraph and the Saatchi Gallery will
choose their favourite works, and a first prize of £10,000 will be awarded to the winning
school’s art department. A further £2000 will be given to the winning pupil to be spent on com-
puter and art equipment. There will be prizes of £5000 each awarded to the second and third
place schools with a further £1000 to each of the winning pupils. Some of the submitted art-
GALLERY 3
works are shown in a small gallery on the top floor, prior to a large scale exhibition. More works
are displayed in the Education Room on the lower ground floor.
GALLERY 2 GALLERY 4

GROUND
FLOOR GALLERY 1 GALLERY 5

GALLERY 13

BOOKSHOP EDUCATION

LOWER GROUND
FLOOR CLOAKROOM
SAATCHI ONLINE The Saatchi Gallery
and Phillips de Pury & Company would like to thank
www.saatchigallery.com

Saatchi Online provides a place where art can be displayed, discussed and sold free Gallery Patron
from commission to either buyer or seller. It is now the world’s largest Art Gallery website,
as ranked by Alexa, the internet’s leading research organization

Media Partner

Saatchi Online Artists Saatchi Online Street Art


Saatchi Online profiles can be created free of charge by Visitors can display and discuss graffiti, murals, street pho-
artists to display their work and network with other users. tography, performance and body art submitted from
In total there are over 120,000 artists registered on Saatchi countries around the world Founding Patron
Online. Artists are also offered exposure at the world’s
Saatchi Online Crits
leading art fairs on Saatchi Online stands. All work sold
Works presented by artists for critique and comment by
through Saatchi Online is free of commission to either
other artists
buyer or seller
Saatchi Online Showdown
Colleges
Ongoing weekly head-to-head competition open for all vis- Education Patrons
Curriculum details and information from over 3000 of the
itors to vote for their favourite works submitted by Saatchi
world’s top universities and colleges who have entered
Online artists, the winning works to be exhibited at the
their profiles Deutsche Bank
Saatchi Gallery. Showdown receives an average of 3
Video Artists, Photographers and Illustrators million votes each week
Over 6,000 artists’ videos are displayed on the site and Google
thousands of photographers and illustrators have created Art Fairs
their free profiles to showcase their work Previews all the leading art fairs from around the world Lille 3000
who have entered their profiles
Saatchi Gallery / Sunday Telegraph Art Prize Magic of Persia
For Schools Dealers and Galleries
Over 3000 schools from around the world display their Over 9,800 galleries worldwide have entered their profiles
pupils’ work on this online schools showcase. Over 22,000 to detail their exhibitions and display their artists’ work
Corporate Patrons
entries from around the world were submitted in the 2009 Saatchi Online Saleroom
Saatchi Gallery / Sunday Telegraph Art Prize for Schools Artists who wish to sell their work directly to visitors can Allford Hall Monaghan Morris
worth £24,000. load their images for viewing on this section. Over 100,000
Saatchi Online TV, Daily Magazine and Blog artworks are available to be seen, with no commission Arup
Daily interactive magazine combining editorial and charged to artist or buyer
visitors comments, providing art news from all over the Grants and Prizes ClearChannel Outdoor
world updated every 15 minutes. Contributions are in- Artists’ funding opportunities, grants and prizes from
cluded from international art critics and correspondents. across the world
Reviews and essays can also be submitted here by visi- ERCO
tors. Mixing editorial with direct video blogs, Saatchi Online Chatroom
TV features vox pops, films of art openings, interviews, Users can chat live with other visitors and speak with guest Goedhuis & Company
artists’ studios, art performances and reviews artists hosting online discussions

Museums Saatchi Online Art Students Jackson Coles


Collection highlights and visitor information from over 3000 Over 30,000 students from around the world use the
of the world’s leading museums who have entered their site as a free space to show their work and make
Vitra
profiles contact with other students. An annual competition,
‘4 New Sensations’ is run in collaboration with Channel 4
Links Walker Morris
in the UK
A direct linking facility where artists, media and cultural in-
stitutions can place a link to their website, creating easy Saatchi Online Studio
access for visitors Where artists can make and display work online. Each
month a winner is selected by a guest critic and £500
Meet Others
donated in the winner’s name to a children’s hospital of
Users can post details about themselves and meet other
their choice. There is also a popular children’s version on
people interested in art.
the site, Artroom.
SA ATCHI
GALLERY
in partnership with

9 786000 006686