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【上苑现场】下一站:古巴塔个展

[2019-11-12 5:27:38]


下一站:古巴塔个展

Next Station: Solo Exhibition 

Shatrudhan K. Gupta 


POSTER_古巴塔SHATRUDHAN K. GUPTA.jpg

艺术家/Artist:古巴塔/Shatrudhan K. Gupta

开幕时间/Opening:2019/9/29, 15:30

展览时间/Duration: 2019/9/29 - 10/04

地点/Location: 北京市怀柔区桥梓镇沙峪口村上苑艺术馆

Shangyuan Art Museum, Shayukou Village, Qiaozi County, Huairou District, Beijing


前言

Intro

A journey to the unknown, towards ourselves, a self-discovery always goes from one station to another, reflecting the stages of life and what we absorb and reflect upon, as we walk this spiritual path called life experience. Gupta’s work comes from the utter peacefulness of the mind, echo of a distant memory from childhood, especially through repetitive almost hypnotizing process of cleaning that he witnessed and learnt to enjoy, inspiring the purification on the spiritual level, just like yoga teacher but without body, just the mind. This is a quest of transforming the mundane objects, embedding in them so much care and attention that they turn into the most wondrous activity.

This collection of art pieces is a synopsis of what might seem at first a mundane activity, a collection of experiences that reach far into the rural, utterly peaceful India. However, describing something like this mundane is deceptive, because every activity has a grain of divine in it, the key is to learn/train our mind to see. Gupta’s eye is seeing this very grain, focusing the sharp laser like vision into the sphere behind the visible world.

Peaceful harmony is at the epicenter of this body of work, but at the same time it is the testament to our hectic world, that is always on some crossroads, from one station to another as we hurl to discover more. It is a slow and inspiring process of internalizing everything around including this very place of Shangyuan Art Museum. Many paintings are reflecting upon the corners and the elements of the buildings around, it is as if the buildings have a will of their own, they want to live through the inhabitants and they indeed do, because they are given a chance, a grain of divine that they hold is not ignored as just mundane.

(Irina Ideas, Montenegro, 黑山)


这是一次接近我们自身的未知旅途——当我们走在这段被称为“人生经历”的精神之路上,这场一站接着一站的自我探索之旅,呈现着生命的不同阶段,以及我们在这些阶段中的学习与思考。

古巴塔的作品产生自他内心极度平静的状态,他对于遥远儿时记忆的共鸣,特别是当他厘清自己所邂逅的一切并学会享受它们时,那个反复上演却越发令人着迷的过程。这个过程促进了精神的净化,就像注重心灵体验而非肉身状态的瑜伽师。

改变平凡的事物需要漫长的求索,当我们给予它们足够多的关注与照料后,它们便会成为最为壮丽的奇观。

本次的系列艺术品展示了极为宁静的遥远印度乡村的生活体验,或许它们起初看似平凡。但是,用“平凡”来形容它是具有迷惑性的,因为每一种行为都有其内在的神圣感,重要的是如何培养我们的内心去识别它。

古巴塔看到了这种神圣感,他以锐利的视觉聚焦于我们眼前世界的背后。平静的和谐是画作主题的集中点,但与此同时,它也是我们繁忙世界的证明。当我们急于探索更多事物时,我们的世界总在十字路口之间,从一个站点驶向下一站。

将身边的一切包括上苑艺术馆这一地方内化入心,是一个缓慢而具有启发性的过程。许多画作都体现了对这附近建筑物各个角落与元素的思考。似乎这些建筑物拥有它们自身的意志,它们想要以居民的身份生活于此,而且它们的确这样做了。因为它们得到了一个机会,这些建筑物所拥有的那一点神圣感,并未被人们忽略为平凡。

李雨婷 Vera Lee (中文翻译)


现场图片/Photos from the Exhibition



“无题”系列 ‘UNTITLED’ SERIES

18/100 PIECES, EACH PIECE 32X24 CM

钢笔墨水, 铅笔 & 水彩PEN INK, PENCIL & WATER COLOR ON PAPER

2019














“无题”系列” ‘UNTITLED’ SERIES’

19/100 PIECES, 50X60, 45X45, 30X30 CM

布面丙烯METALIC ACRYLIC & ACRYLIC COLOR ON CANVAS

2019




















“仙居无题”之“一见钟情” ‘FALL IN LOVE @ FIRST SIGHT’ FROM THE SERIES OF ‘THE UNTITLED OF XIANJU’
钢笔墨水&铅笔PEN INK & PENCIL ON PAPER 
52/200 PIECES, EACH PIECE 21X15 CM
2018-19





“无题”系列 ‘UNTITLED’ SERIES

4/50 PIECES, EACH PIECE 32X24 CM

钢笔墨水, 铅笔 & 水彩PEN INK & WATER COLOR ON PAPER

2019



辛苦了 END OF THE DAY
VARIABLE SIZES FOUND OBJECTS 2019


WORK IN PROCESS
VARIABLE SIZES PEN INK ON PAPER & FOUND OBJECTS 2019



评论/Review:


The first things that greets us as we enter this world of art is what surrounds us on the astral/stars system level, deeply rooted in the Chinese culture and history. The elements that used to determine the most important decisions made as the Dynasties were breathed in and out by the cause and effect and circumstances through history. This is called a Chinese Zodiac, and Gupta greeted us with what surrounds us this year and that is a year of a Pig.

当我们走入艺术世界,首先来迎接我们的是在星系层面上围绕着我们的东西,它们深植于中国的历史文化之中。曾用来定夺各朝代重要决策的因素,被历史的因果流转与局势变迁所吸纳与呼出。这就是中国的“十二生肖”。古巴塔以今年围绕着我们的东西来迎接我们——今年是猪年。

The journey continues through gallery space into the series that reach deeply into the world of subconscious abysses and mountain ranges, inspired by the mountains in ‘XIANJU’ (China) that Gupta visited some time ago. He discovers the mirror within reflecting what he saw outside, but then we realize with awe something universal. Isn’t it how it always works, we find the mirror in our subconscious infinity reflecting the things we want to understand and suddenly we find ourselves in this world that has it’s own Sun, it’s own atmosphere, it’s own complexity. There are two sets in this collection one explicitly dealing with geometry and symmetry of the mind, because the intelligence always seeks patterns, leading us to some different conclusions about the reality. This reality is always reflected through the mirror within and Gupta presented this body of work in such a way that it is clear as to the realization of the statements that represent themselves through the reflections. The reflection is all encompassing so we see it on the side of the wall but also partly attached to the ceiling but majority is placed on the floor, to remind us that the deepest discovery of the mind requires us to look down, deep, within.

这场旅行继续进行着,从画廊空间延伸到了一系列深入潜意识深渊与山脉世界的作品,它们的创作灵感来自于古巴塔前段时间曾造访过的位于中国的仙居山。他发现内在的镜子映照出了他在外界看到的景象,但接着他意识到了某种普适性,一份敬畏之情油然而生。这是不是事物运行的规律?我们在潜意识的无限中找到了一面能反映我们想要理解的事物的镜子。于是突然间,我们发觉自己身处于一个拥有自己的太阳、气氛以及复杂性的世界。本次展览有两个系列,第一个明确地讨论了内在的几何结构与对称性,因为才智总在寻找样板,使我们得出有关现实的一些不同结论。这类现实常常由内在镜象所反映出来。古巴塔以这一方式展示了这作品,即通过映射来实现代表自己的陈述。这种反映包罗万象。因此我们在墙的侧面看到它,也有部分附着在天花板上,但主体部分又放在地板上。这提醒着我们,对心灵最深层次的探索需要我们向下看、向深处看、向内里看。

It is in this spirit that the progression of this idea goes into the series of internal mountains and shapes placed centrally on the board of the exhibition, presenting 52/200 pieces, with meticulous lines and densities at the same time with transparency almost as if a destiny itself is playing with the lines of possibilities. The collection is uniform in the overall, but the arrangement suggests a certain pattern with division in two, three and four. As the concept of a family is very strong in India and Gupta grew up in the ecosystem where nurturing and sharing is emphasized, alongside his brother, sisters and parents, the division of the worldly stimulus is probably measured according to this formula. It appears that the numbers play significant part in the composition of Gupta’s artwork both externally and internally, as we often observe four chairs, 3 tables, 9 lines on the crossing …………..

正是在这种精神下,这个想法的发展进入了内部山脉和形状的系列作品中,而这60件作品被放置于展览的陈列板的中央位置。它们有着精细的线条和密度,同时具有透明度,就像命运自身在与充满可能性的线条玩耍一样。本次展览有着总体风格的一致性,但其排列方式又体现了一定的模式——有着二、三、四的划分。由于印度人非常注重家庭的概念,而古巴塔与他的兄弟、姐妹和父母都生长于这个强调养育与分享的生态系统中。世俗刺激的划分可能就是根据这个公式来衡量的。在古普塔作品的外在和内在的构成中,这些数字似乎起着重要的作用,因为我们经常在十字路口看到四把椅子,三张桌子或九条线。

A black background, reflecting the deep peacefulness, invoking in us this feeling of a mysterious, something elusive, always present but at the same time disappearing, one can almost vividly imagine the refuge of a mind into itself, exploring and wondering at the world. Metallic acrylic that emerges out of this background is almost like a reflection of our lives, wanting more, emphasizing every moment lived, but at the same time making it static, like being frozen in time. Melancholy is something that wants to freeze the time, but because the nature of time is so ruthless, it is unable to conquer such a powerful opponent. In Gupta’s collection of Acrylic on Canvas we almost sense this, the association with crossroads, the journey through life, but at the same time a slight sadness but only in appearance, once we look deeply into it, it transforms into peacefulness.

黑色的背景反衬出了深邃的宁静感,它唤起了我们内心中神秘而难以捉摸的感觉。这种感受总在刚出现的同时消散无踪。人们几乎可以生动地想象心灵对自身的庇护,我们探索着世界,也对世界叹为观止。从这背景中出现的金属丙烯酸正如我们生活的反映——我们渴望更多东西,强调生存着的每一刻,但同时又让它像时间冻结一般静止。忧郁是一种想要冻结时间的东西,但由于时间本质的果决无情,它无法征服如此强大的对手。从古巴塔的布面丙烯系列作品中,我们总能感受到这一点——与十字路口的联系、生命的旅程。但同时有些许悲伤感觉,也只是体现在表面,一旦我们深入观察,它便转化为了一种静谧。

Eternal stillness in the world that moves from one station to another, observing, memorizing, just like genetics memorizes everything, so does this collection towards the world around. ‘Shangyuan museum’ seems to be obviously depicted in many of these paintings, but what is probably the most fascinating that Gupta was not aware at the time of painting these pieces is that they actually remind of the structures that he was surrounded with at the time. The atmosphere and spiritual powers of ‘Shangyuan museum’ infiltrated his mind on the most subconscious level and emerged onto the canvas like a bird that hunts fish and comes out of the sea, unaware that her evolutionary specialty is fairly rare among birds. Jung, (psychologist) often designated his painting pieces as nature because he was able through active imagination to surface from the subconscious the most fantastic visions, and Gupta’s journey into a self-discovery through art echoes this concept.

世界永恒的寂静从一站驶向另一站,观察着、记忆着一切,如同遗传学记录下万物一样,本次展览作品对周围的世界也是如此。许多画似乎都明显地描绘了上苑艺术馆,但最令人着迷的也许是古巴塔在创作这些画作时,并未意识到它们让他想起了他周围的建筑。上苑艺术馆的氛围和精神力量以最深层的潜意识渗入他的头脑之中,然后浮现于画布上。就像一只猎鱼的海鸟般从海中一跃而出,没有意识到她的进化专长在鸟类中相当罕见。心理学家荣格常将他的绘画作品称为自然,因为他能够通过活跃的想象力让潜意识浮现出最奇妙的景象,古巴塔通过艺术进入自我发现的旅程也呼应着这一概念。

The installation pieces marked and captured by a quadrant create the border of the space of their own, starting with the brush, slipper and a mask, through recycling of metallic elements (probably emerging from the paintings) to the construction of benches bound together by gravity and finally culminating in the selection of tools required for an artist, in the domain of traditional art, to be able to express him/herself. All of these signify a transformation of thought from a confine of a canvas/freedom from gravity to the freedom of the empty air, but confines of gravity. Searching for this perfect spot in the balance between purity through cleaning thoughts/environment and the world that is inevitably in the state of entropy.

由象限标记和捕捉的装置作品创建了自己空间的边界,它们从画笔、拖鞋和面具开始,通过回收金属元素(可能在绘画中体现)到由重力结合的长凳构造,最终在传统艺术领域中选择艺术家所需的工具,来进行他/她的自我表达。所有这些都意味着思想的转变,从画布的限制/摆脱重力的自由到空气的自由,但仍处于重力范围。在清理思想/环境后得到的纯净与这个不可避免的无序世界之间寻找完美的平衡点。

Finally let’s go back at the beginning where the circle of this exhibition stars and ends, but also for us flowing through this year of a Pig, it is the circle of seasons that makes us interpret time better. Symbolically depicting 6 and then 10 and then two times 9 rectangles or what I interpreted as months, as we are about to enter the 10th month of this year in our calendar. It is said that the origin of Chinese horoscope became because when Buddha was summoning the animals, the first to arrive was a Dragon, closely followed by a snake, then a horse, a goat,….and eventually the pig was the last one to join this journey and for this reason it is regarded as the one of luckiest, especially in terms of material gains as it got there just in time, and time as we all know, the power of time and how it transforms every single one of us.

Irina Ideas, 黑山

李雨婷 Vera Lee (中文翻译)


随古巴塔的一场视觉环行


印度艺术家古巴塔的作品呈现出某种日常的个人感官漫游和归隐,一种静态的视觉穿行,却能将观者引入另一个维度,另一片国度,另一方内心世界,因为这种旅行的终极是内向性的。他的奇特之处并不在于旅行者的炫耀和猎奇,而在于将视线投向日常最为常见的的物体上,一把椅子,一座风扇,或一个红绿灯等,让观者的视觉空间系统扩展和延伸,却带来更为完整深入的洞悉。他的引领甚至走到光线的背后,闪出了光谱的体系,走向胶片的负面,不再是日光直射下的呈现,却留下太阳深沉的光晕。在那里,他获得所有和宁静的对话,那是掩盖在日光背后所有的真实,所有关于旅途的意义。

他的视线不再是窥视那个纵深而虚无的远方,而是无为地陪伴,感受与身边平凡的物品一起同行的乐趣,以及彼此的亲密关系。在他环行的视觉体验中,感受着这个时代,感受着万物沉默背后的灵性,感受着平等的激情。而这旅程的目的地,在那至坚和至柔,至暗和至亮处相遇,融合为一。

席拿 Lee Yun


权力的游戏


情绪日趋抽象化。人们匆忙闪过的瞬间夹带着打包好的心理气象,色调大抵都是暗沉的,即使是该朝气蓬勃的年龄,也喜欢自我浇筑金属般的光感和温度。看都市的生活,人们流连于密密麻麻的理性的线条中,像孩子玩滑滑梯般,我们的精神快速而单一的与每个线条重叠和分离。桌子、椅子、沙发、门窗、高楼、标识牌、路轨、日常用品……在流畅而富于逻辑的现代设计中,消减了很多原始、繁重和复杂的元素,所存留的是否只剩下冷静和单调?古巴塔在他的绘画中给出了他的答案。

一支细小的画笔在一个方格子里轻柔地来回加固重心,我把手伸向他的空气里,古巴塔迟疑了一下,放下笔,然后握住我的手,那刺骨的冰冷和我的温热开始像泡腾片一样翻腾在空气的交界处……那只手回到了膝盖上并包裹住膝盖,就像他画面的黑色密实地包裹画布一样。

古巴塔开始埋入黑暗的世界里布局,他小心地释放物体的意志,每次一点点,甚至有些吝啬的意味。他先是让物体之一残缺,比如一个桌子或椅子,然后让另一个桌子或椅子并不是很大方地挪到一个受力最精准的位置辅助托起残缺的桌子或椅子,如果它实在有情绪,古巴塔就惩罚它,让它也消失一部分,以更艰难的方式托起桌子或椅子,而上面的桌子或椅子又托起别的桌子或椅子,一直重复,力的极限被不断破除;或者,这只是一根直立的杆,沿着一个方向分别安插不同的杆,它们的连接处被绑定,所以并不会断裂和掉落,空气在这些框架中穿梭却被设定无声,杆用这种方式占领一个又一个方位,并设立程序;那些方方正正的建筑以规整的面和直线来架构画面,你以为的安全的重力法则会在这里比较老实,实际上并非如此,建筑都是悬于空中,岌岌可危的同时,却被上面绚丽的云彩所挑逗,房子、窗户、桥、屋顶暂时忘记了坠落的恐惧,紧接着重力消失了,它出不出现、在哪里玩心跳的游戏都是古巴塔来决定的;重力以闪烁的姿态横在半空或躺平于地面,它驱赶着车和人,让一切流动的事物都井井有条……这一切都是权力的游戏,在无限黑暗的世界里,重力的权力随着古巴塔冷静地手而悄悄膨胀着,重力的意志既节制又猛烈,它所到之处都充斥着征服和被奴役的矛盾气息,但这一切都是在黑暗中进行,所以观者被一种极致的安静表象所欺骗,被一种简约又干净的优雅所遮蔽,观者只需要保持一个坐姿,假装坐在古巴塔所创造的椅子上,很快,观者就会肌肉紧绷酸痛难忍,并且在不平衡中体验着坍塌的恐惧感,很快,观者便能感受到那些看似毫无生命的物体的力之所向。

现代文明之美已见缝插针地覆盖了人类的生活,这种美更趋向于理性,古巴塔用他特有的感官去发现它和诠释它,他必然在穿梭于马路、街道、高楼和房子的过程中感受到现代工业给人的压迫感,但同时也伴随着舒适感,人们很依赖甚至是依恋着眼前的一切:人们坐在四只脚的椅子上喝着冒有香味的咖啡,桌子、椅子的每只脚都不可以开溜,这种精致的幸福象征感是不能因为一只脚而坍塌; 人们开着车服从着一根拦下来的杆子,服从那个眼看就要向一方倒塌的来回闪烁的交通调控灯,人们在斑马线面前走走停停,同时又热爱这种充满安全意味的秩序感;人们行走在高空的吊桥上,人们住在高处的房子里,既有些许不安又享受着高高在上的超然感;人们头顶悬着飞速旋转的吊扇,既担心它会掉落削到身体,又很贪恋地体验着凉爽的快感;每根管道里涌动着滚烫和冰凉的水,它不能爆裂,只要启动开关,它们就会迅速地汇集在一起,以最好的温度安慰疲惫至极的人们……

所有的事物都有两面性,在我们刻意回避、轻视或淡忘背后那黑暗的一面,古巴塔让它们清晰可见,画面突然显得那么严峻和冷酷,某种超乎我们想象的强大在脑海里漫延开来。过去,人类对抗大自然以求生存,现在,人类依赖工业文明以求安稳和发达,但所有的一切都不以人的意志为转移,一切皆有它们自己的意志。古巴塔用他冷静的手绘制了工业文明的面貌,并复活了它们自身的意志,以及它们自带的抽象的情绪,人类的生活被影响的同时要保持对它的敬畏精神,这大概是古巴塔在他画中所暗含的警示和意义之一。

秦姣姣


工作室/Studio


STUDIO PICS.jpg


古巴塔
SHATRUDHAN K. GUPTA 
(1985, India)


学历

2016-18      ’高级学者研究项目’ 中国美术学院 中国杭州

2009           视觉艺术硕士  艺术与工艺学院  勒克瑙大学 印度勒克瑙

个展

2019           ’NEXT STATION’ ‘下一站’, SHANGYUAN ART MUSEUM, BEIJING
                   ’A MAN FROM LUCKNOW’ 中国房客,AIXIU DESIGN ART SPACE, Hangzhou

                   ’DREAMS OF DREAMER’ 梦的印记,西卡艺术中心 杭州 supported by Consulate General of India Shanghai

2016           ’乌托邦幻想’ Magnolias俱乐部,印度古尔冈,幻影画廊赞助 ‘Apparao Gallery’ Chennai

2014           印度勒克瑙地区中心LALIT KALA AKADEMI ‘法定警告’

国际项目

2019          第八五届北京国际艺术双年展 中国北京
                  ’Commemorative Envelopes’, Dreamland Art Center, Four Seasons Hotel, Beijing

                  参展第九届国际展览会  中国上海 ‘上海艺术收藏博物馆’

                  ’ART TODAY-Here’s The Answer’, Hangzhou Creative Design Center, Hangzhou

                  ’INTER-SPACE DIALOGUE, ‘BERNINI ART SPACE’, 中国杭州

2018          参展第八届国际展览会  中国上海 ‘上海艺术收藏博物馆’

                  ’hui de fang shi’ Exhibition of Studio 5, 中国美术学院, ‘BERNINI ART SPACE’, 中国杭州

2015         Group Show, ‘ARTISTI O GLADIATORI?’ STADIO DI DOMIZIANO, Rome

                 第22届国际文艺幽默讽刺双年展 加博罗沃 保加利亚

2014         群展“最前沿40” 印度海洋画廊 韩国首尔 “艺术507”

2012         第五届北京国际艺术双年展 中国北京

驻地艺术家

2016           1月1日-2月29日, 118空间 孟买

2015           9月25日-10月24日, ANANDGRAM SANSKRITI KENDRA 新德里 由艺术 4 ALL资助


获奖

2016           中央区域勒克瑙城市奖  Prafulla Dhanukar艺术基金会 孟买

2009           第23届全印度艺术大赛一等奖  SCZCC 印度

2008           ’价值证书奖’第22届全印度艺术竞赛&展览 , SCZCC, 那格浦尔



艺术博览会

2013           联合艺术博览会 新德里

奖学金

2013           国家LALIT KALA ACADEMY奖学金 勒克瑙

2010           LALIT KALA AKADEMI的研究奖 印度新德里

COLLABORATIVE PROJECT

2019          ’Commemorative Covers Travel Thousands of Miles, Remain True to Our Original Aspiration’ CFPD, organized by Zhongyulidu Culture Co., Ltd., Beijing

2015          ’THE CATALYST’ at Book Fare, Moti Mahal Lawns, Lucknow, supported by Kala Srot Art Gallery,

2014          ’PHOTO SYNTHESIS’ at LALIT KALA AKADEMI, R.C., Lucknow, supported by LALIT KALA AKADEMI, R.C., Lucknow


组展(印度)

2018           ’Akhabaar Aakaar’, KALA SROT ART GALLERY, Lucknow

2016           ’ART 35’, Young Affordable Art, The Great Eastern Home, Mumbai

                   ’OPEN STUDIO DAY’, SPACE 118, Mumbai

2015           ’SANSKRITI KENDRA ART GALLERY’, ANANDGRAM, New Delhi Org. by ARTS 4 ALL

2014           AHIWASI ART GALLERY, BHU Campus, Varanasi

                   ’NAVAKA’ SGPGIMS Campus, Lucknow

2013           ’PAUSE n PLAY’ JEHANGIR ART GALLERY, Mumbai

                   ’PAUSE n PLAY’ Preview Show, LALIT KALA AKADEMI, R.C., Lucknow

                   ’PARALLEL REALITIES’ DEVLALIKAR ART GALLERY, Indore, M.P.

                   ART MART, KHAJURAHO INTERNATIONAL FESTIVAL, Khajuraho, M.P.

2012           ’THE SCHOLAR SHOW’ LALIT KALA AKADEMI, REGIONAL CENTRE, Lucknow

2011           ’ART SPOTING II’ ART POSITIVE GALLERY, New Delhi

2010           ’ABHIVYAKTI VIII’ STATE LALIT KALA AKADEMY, Lucknow

2008           ’THE EXCERPTS’ INDIAN ACADEMY OF FINE ARTS, Amritsar, Punjab


MAJOR PARTICIPATIONS (印度)

2014            8th All India Portrait Art Exhibition, AIFACS, New Delhi

2013            13th All India Art Contest & Exhibition, STATE LALIT KALA ACADEMY, Lucknow

                    7th All India Portrait Art Exhibition, AIFACS, New DelhI

                    3rd All India DIGITAL ART Exhibition, AIFACS, New Delhi

2012            2nd All India DIGITAL ART Exhibition, AIFACS, New Delhi

                    30th State Exhibition of Arts, STATE LALIT KALA ACADEMY, Lucknow

2011            119th Annual All India Art Exhibition, BOMBAY ARTS SOCIETY, Mumbai

                    84th Annual All India Exhibition of Arts, AIFACS, New Delhi

                    11th Northern Region Art Exhibition, CAMEL ART FOUNDATION, New Delhi

                    29th State Exhibition of Arts, STATE LALIT KALA ACADEMY, Lucknow

2010            83rd Annual All India Exhibition of Arts, AIFACS, New Delhi

                    12th All India Art Contest & Exhibition, STATE LALIT KALA ACADEMY, Lucknow

                    10th Northern Region Art Exhibition, CAMEL ART FOUNDATION, New Delhi
2009            75th All India Exhibition of Arts, INDIAN ACADEMY of FINE ARTS, Amritsar

                    9th Northern Region Art Exhibition, CAMEL ART FOUNDATION, New Delhi

                    Art Appreciation Course, STATE MUSEUM, Lucknow

2008            74th All India Exhibition of Arts, INDIAN ACADEMY of FINE ARTS, Amritsar


CAMPS / WORKSHOPS & OTHER ACTIVITIES

2017           ’GESSO WORKSHOP’, China Academy of Art, Hangzhou

2014           ’INSTALLATION WORKSHOP’, LALIT KALA AKADEMI, R.C., Lucknow

                   Painting Camp, KALA SROT ART GALLERY, Lucknow

2006           Painting Workshop at ‘Biotech Park, Bio Technology City’, Lucknow

                   ’Abhivyakti’ Creative Workshop on E-Waste org. by ‘Prithivi Innovation’, IIM, Lucknow

2004           ’Puppet Workshop’ org. by Lalit Kala Shiksha Sansthan, Lucknow

                               



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