Contemporary art and anthropological aesthetics converge in a dynamic dialogue, allowing insight into the complexities of our interconnected world. The roots of the relationship of art and anthropology are traced to Franz Boas. Boas, in his seminal work "Primitive Art" (1927), dismantled Eurocentric notions of cultural superiority, establishing the groundwork for appreciating non-Western artistic traditions. His emphasis on cultural relativism and the imperative to understand art within its cultural context set the stage for subsequent anthropological inquiries.
Continuing Boas's legacy, Claude Lévi-Strauss played a pivotal role in shaping the structuralist approach. In "The Savage Mind" (1962), Lévi- Strauss delved into the foundational processes underlying diverse cultural phenomena, including art. His exploration of myth as a communicative and expressive form provided a framework for understanding the symbolic dimensions of artistic production across various societies.
Alfred Gell's "Art and Agency" (1998) marked a notable departure from preceding methodologies. Gell spotlighted the significance of art objects, proposing that artworks possess the agency to influence society. His examination of how art functions as a social catalyst ignited debates regarding the essence of art and its role in shaping human behaviour and interpersonal connections, placing his work in many regards on the lines of Arnold Hauser’s Social History of Art.
Howard Morphy redirected attention to indigenous art and its significance within distinct cultural contexts, as evident in "Ancestral Connections: Art and an Aboriginal System of Knowledge" (1991). Morphy's research emphasised the intricate interplay between art and indigenous knowledge systems, stressing the importance of considering artistic forms within their cultural, historical, and spiritual frameworks.
In the contemporary landscape, Tim Ingold has been instrumental in reshaping the connection between art and anthropology. In "Being Alive: Essays on Movement, Knowledge, and Description" (2011), Ingold advocates for an anthropology of creativity, urging scholars to move beyond analysing finished art pieces and engage with the actual processes of artistic creation. His concepts have opened new vistas for investigating the evolving and fluid characteristics of artistic methodologies.
Another important figure, Anna Tsing in her work often delves into multispecies ethnography, exploring the complex relationships between humans and other organisms. Tsing's anthropological lens embraces the idea that humans are entangled in a web of relationships with diverse species, and she critically examines the implications of these entanglements for both local and global ecosystems. By emphasising the relational nature of life on Earth, Tsing's perspective challenges conventional boundaries within the discipline, urging scholars to consider the broader ecological context in their anthropological inquiries. Her interdisciplinary approach reflects a commitment to addressing urgent environmental issues and encourages a reevaluation of anthropological methodologies in light of contemporary ecological challenges.
From Boas's cultural relativism to Lévi-Strauss's structuralism, Gell's examination of art as agency, Morphy's study of indigenous art, to Ingold's emphasis on the anthropology of creativity and Tsing’s approach that goes beyond traditional human-centric perspectives, the exhibition builds a framework for examining the larger ways of looking at the part, and present.
The exhibition proposes viewing the works of the selected artists through the conceptual sections of Cultural Hybridity and Relativism, Indigenous Perspectives and Agency of the Objects in their relation, Ecological Concerns and the Anthropocene, and the intersections of these. With works that push the boundaries of traditional forms and mediums, the exhibition becomes a fecund field with rich material for investigating cultural dynamics, identity politics, technological transformations, activism, and ecological challenges.
Curated by Satyajit Dave
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Reyaz BadaruddinBetween the lines II, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Acrylic on canvas60" x 48"
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Lakshmi Nivas CollectiveCartography Gone Wrong, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Sheep wool fabric, cotton thread219cm x 105cm each
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Zeigam AzizovStrangers to ourselves , 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Inkjet print
Hahnemuhle studio enhanced paper3' x 2' -
Shanthamani MuddaiahThe Wave, 2015Displayed at "Being Alive" at Iram Art Gallery Dec 2024Ink and acrylic on handmade cotton rag paper136 X 271 cm
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Lakshmi Nivas CollectiveA Landscape Painting, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Goat and bull semen on oxidised copper sheet66cm x 45.7cm each (66cm x 152cm)
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Eline GroenewegEline Groeneweg in collaboration with Kirit Chitara, mata-ni-pachedi artisan, 2018Part of the exhibition
Craft & Costume / Ambacht in Dracht
Part of the show "Being Alive" at Iram Art Gallery Dec 2024Commissioned by
Textielfactorij / Zuiderzee MuseumPeacock sleeve: 67 cm (l) - 47 (dia cuff)
Tree of Life sleeve: 70 cm (l) - 14 (dia)
Patterned sleeve: 58 cm (l) - 32 (dia) -
Eline GroenewegEline Groeneweg in collaboration with Kirit Chitara, mata-ni-pachedi artisan, 2017Part of the exhibition
Chintz: Cotton in Bloom / Sits: Katoen in Bloei
Fashion & Textile Museum London (UK)
18 May - 12 Sep 2021
Fries Museum Leeuwarden (NL)
11 Mar - 10 Sep 2017
Part of the show "Being Alive" at Iram Art Gallery Dec 2024Hand painted natural dye on cotton65 x 145 cm -
Megha JoshiAgnostic, 2022Part of the show "Being Alive" at Iram Art Gallery Dec 2024Hand knotted thread on canvas, diptych24" x 72" (each)
48" x 72" -
Megha JoshiMapping Faith, 2022Part of the show "Being Alive" at Iram Art Gallery Dec 2024Ritual materials ( Rudraksha, mauli, janeyu and jyot) and ink on canvas60" x 30"
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Megha JoshiIn search of faith series , 2024Bronze and thread26" x 24" x 10"
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Megha JoshiIn search of faith series, 2024Hand knotted threads on epoxy on canvas48" x 48"
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Shanthamani MuddaiahStill Life, 2017-2023This is the last edition in 2 +AP Shown in Start Art Fair at Saatchi and Saatchi, London in 2019Wood charcoal with cotton rag pulp61 x 116 x 102 cm
(24 x 46 x 40 inches) -
Shanthamani MuddaiahBlack Bloom, 2017Edition of 2 + 1 APWood charcoal with cotton rag pulp48" x 36" x 20"
Wall mounted -
Shanthamani MuddaiahOne dollar, 2023-24Edition of 2 + AP
A similar 100 dollar bill is in the private collection of PM of Luxemburg, in the parliamentWood charcoal with cotton rag pulp, Carbon fibre laminated for
support76 x 183 cm -
Shanthamani MuddaiahGlobe, 2023Edition of 2 + APBurnt wood on Aluminium frame30x 30 cm globe, on wood pedestal
measuring 53 x 28 x 2.5 cm -
Shanthamani MuddaiahStill life, 2022Displayed at "Being Alive" at Iram Art Gallery Dec 2024Charcoal, paper pulp, wood and black rubberAcquired by Meha Patel (Zydus)Sold
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Mrugen RathodOn my way to Chansad village, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Watercolor on hand made paper9" x 12"
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Mrugen RathodOn my way to Chansad village, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Watercolor on hand made paper9" x 12"
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Mrugen RathodRiver B(L)ACK, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Paper pulp and acrylic gloss88" x 88"
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Mrugen RathodRiver gauge project 16.5/132, 2022Fabric, rice paper, stainless steel armature, LED light, tea toning, gel medium and ink102" x 14.5" x 5.5"Sold
Acquired by Deepak Patel (Ganesh Housing)
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Mrugen RathodOn my way to Chansad village, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Watercolor on hand made paper9" x 12"
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Mrugen RathodOn my way to Chansad village, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Watercolor on hand made paper9" x 12"
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Mrugen RathodAn urban water body 1, 2023Part of the show "Being Alive" at Iram Art Gallery Dec 2024Paper pulp, acrylic glass, wood and cement20" x 20"
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Mrugen RathodOn my way to Chansad village, 2024Part of the show "Being Alive" at Iram Art Gallery Dec 2024Watercolor on hand made paper9" x 12"
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Sojwal SamantUtpadan, 2015Part of the show "Being Alive" at Iram Art Gallery Dec 2024Wood, glass, ceramic61" x 14" x 14" each
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Dr Sangeeta SandrasegarDie Ährenleserin und ihre Schlange, 2019Part of the show "Being Alive" at Iram Art Gallery Dec 2024Cut paper, watercolour and glitter31 x 41 cm
The series Bestarium 2019 draws upon the history of visual representation from scientific botanical and natural history illustrations, with classical Western art genres to examine the legacy of artistic vision upon ways of knowing the world around us. The cutouts draw upon the watercolours of Austrian master dyer Aloys Zötl’s Bestiarium, a series of exquisite paintings of various animals undertaken from 1831 through until his death in 1887. In Sandrasegar's re-interpreted Bestiarium 2019 these fantastical animals sit alongside sculptures from collections of various German museums in settings of the artists imagination. -
Dr Sangeeta SandrasegarDer kleinen schwarzen Jung mit seine Gans, 2019Part of the show "Being Alive" at Iram Art Gallery Dec 2024Cut paper, watercolour and glitter31 x 41 cmSold
Acquired by Nikhil Kamath, Zerodha, Goa
The series Bestarium 2019 draws upon the history of visual representation from scientific botanical and natural history illustrations, with classical Western art genres to examine the legacy of artistic vision upon ways of knowing the world around us. The cutouts draw upon the watercolours of Austrian master dyer Aloys Zötl’s Bestiarium, a series of exquisite paintings of various animals undertaken from 1831 through until his death in 1887. In Sandrasegar's re-interpreted Bestiarium 2019 these fantastical animals sit alongside sculptures from collections of various German museums in settings of the artists imagination. -
Dinar SultanaAnthropomorphic Basic Pillar 4, 2024Clay, charcoal and watercolour on newspaper pulp made self made paper63" x 16"
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Dinar SultanaThe solar pillar, 2023Various colours of clay, minerals, charcoal, graphite on newspaper pulp made self made paper, direct impression from different types of crafts on self made paper60" x 36"
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Dinar SultanaAnthropomorphic Basic Pillar 1, 2024Clay, charcoal and water colour on newspaper pulp made self made paper53" x 16" x 16"
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Reyaz BadaruddinThe roads we take, 2024Terracotta, engobe & glaze40" x 32"
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Sojwal SamantWhen god was handing out brains, I went with a sieve, 2021Displayed at "Being Alive" Iram Art Gallery Dec 2024Ceramics wood and wire mesh48" x 10" x 2"
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Rajat GajjarThrift, 2024Displayed at "Being Alive" Iram Art Gallery Dec 2024Gold on porcelain7" x 4" (27 works)
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Sojwal SamantClouds, 2017Displayed at "Being Alive" Iram Art Gallery Dec 2024TerracottaVariable