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X-WR-CALDESC:Events for Chatterjee & Lal
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251212
DTEND;VALUE=DATE:20260401
DTSTAMP:20260513T132353
CREATED:20250613T060224Z
LAST-MODIFIED:20250613T082732Z
UID:5967-1765497600-1775001599@chatterjeeandlal.com
SUMMARY:Kochi-Muziris Biennale
DESCRIPTION:The Kochi Biennale Foundation is pleased to announce the appointment of Nikhil Chopra with HH Art Spaces as curators of the sixth edition of Kochi-Muziris Biennale scheduled to open to the public on December 12th 2025 until March 31st 2026. \nThe announcement was made by the honourable Chief Minister of Kerala\, Shri Pinarayi Vijayan in Kerala’s state capital\, Thiruvananthapuram in the presense of honourable Minister of Public Works Department and Tourism\, Shri PA Mohammed Riyas and honourable member of parliament from Thiruvananthapuram Shri Shashi Tharoor. The KBF were represented by chair Dr. V Venu\, CEO Thomas Varghese and the President of the Kochi-Muziris Biennale Bose Krishnamachari.
URL:https://chatterjeeandlal.com/event/kochi-muziris-biennale/
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250602
DTEND;VALUE=DATE:20250603
DTSTAMP:20260513T132353
CREATED:20250614T112059Z
LAST-MODIFIED:20250628T054143Z
UID:5972-1748822400-1748908799@chatterjeeandlal.com
SUMMARY:Mortimer Chatterjee at TIFR
DESCRIPTION:Please click this link to listen to the full talk:\nhttps://youtu.be/8xB1sdeC6bM?si=t5TbU2SgeSnbdJ6W \nThe First Art and Archives Colloquium \nJune 2\, 2025\n5 pm \nHomi Bhabha Auditorium\nTata Institute of Fundamental Research (TIFR)\n1 Homi Bhabha Road\, Colaba\, Mumbai 400 005 \nTracing the development of the TIFR art collection between the 1950s and 1970s demands a multi-faceted approach to the art and culture ecosystem of the period. In his presentation\, Mortimer Chatterjee will reflect on the learnings he has been gifted over the last fifteen years of working with the collection.
URL:https://chatterjeeandlal.com/event/mortimer-chatterjee-at-tifr/
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2025/06/1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20231003T120000
DTEND;TZID=UTC:20231028T170000
DTSTAMP:20260513T132353
CREATED:20231006T080147Z
LAST-MODIFIED:20231006T080147Z
UID:4969-1696334400-1698512400@chatterjeeandlal.com
SUMMARY:Rummaging for Pasts | Ashish Avikunthak
DESCRIPTION:
URL:https://chatterjeeandlal.com/event/rummaging-for-pasts-ashish-avikunthak/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2023/09/Still-from-Rummaging-for-Pasts-2001-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230914T180000
DTEND;TZID=UTC:20231021T190000
DTSTAMP:20260513T132353
CREATED:20230912T065349Z
LAST-MODIFIED:20230912T065349Z
UID:4945-1694714400-1697914800@chatterjeeandlal.com
SUMMARY:A Place In The Shadows | Material Immaterial Studio
DESCRIPTION:
URL:https://chatterjeeandlal.com/event/a-place-in-the-shadows-material-immaterial-studio/
LOCATION:47-A: Design Gallery\, 47-A\, Kotachi Wadi\, Ambewadi\, Girgaon\, Mumbai 400 004.\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2023/09/Agrasen-2-e1694499503772.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230811T110000
DTEND;TZID=UTC:20230916T190000
DTSTAMP:20260513T132353
CREATED:20230731T131102Z
LAST-MODIFIED:20230731T131157Z
UID:4895-1691751600-1694890800@chatterjeeandlal.com
SUMMARY:Nihaal Faizal | Red Curtains Opening
DESCRIPTION:
URL:https://chatterjeeandlal.com/event/nihaal-faizal-red-curtains-opening/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2023/07/Autumn.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230608T120000
DTEND;TZID=UTC:20230729T190000
DTSTAMP:20260513T132353
CREATED:20230605T102950Z
LAST-MODIFIED:20230608T064528Z
UID:4507-1686225600-1690657200@chatterjeeandlal.com
SUMMARY:K.G. Subramanyan: His Art As Language
DESCRIPTION:This is the second of a two-part exhibition exploring the practice of K.G. Subramanyan (1924 – 2016). It takes place on the eve of his centenary birth year. The selection of objects at Chatterjee & Lal has been determined by two key influences in Subramanyan’s career: his training at Santiniketan during the 1940s and his engagement with textiles whilst employed at the Weavers’ Service Centre between 1958 – 1960. \nThe artist had studied for a year in the UK in the mid 1950s and during this period had fallen under the spell of the teachings of art historian E.H. Gombrich. Gombrich’s ideas around art\, especially his use of the analogy of art as language\, made a deep and lasting impact on the young Subramanyan. The manner in which art and design is defined by an ability to communicate between practitioner and audience is a common thread that runs right through the works selected for this exhibition\, and provides the prompt for its title. \nChatterjee & Lal and Seagull Foundation for the Arts.
URL:https://chatterjeeandlal.com/event/k-g-subramanyan-his-art-as-language/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2023/06/Untitled-design1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230518T120000
DTEND;TZID=UTC:20230604T190000
DTSTAMP:20260513T132353
CREATED:20230516T133418Z
LAST-MODIFIED:20230518T114221Z
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SUMMARY:Do Hands Have a Chance? K.G. Subramanyan and Design
DESCRIPTION:K.G. Subramanyan (1924–2016) was a force of nature\, and over a six-decade career in art\, craft and design—both as a practitioner and educator—his impact on the cultural sphere has been immense. On the eve of his birth centenary\, C&L Design presents Do Hands Have a Chance? — an experimental two-part exhibition\, the first of many commemorative events planned across the country in the year to come. \nThe exhibition includes a selection of Subramanyan’s work with textiles\, books and toys\, and views his practice through a design-historical lens.\nIn 1958\, the Weavers’ Service Centre opened at Opera House—a five-minute walk from 47-A—where\, in its early stages\, Subramanyan worked for one and half years. The exhibition at 47-A includes newly discovered material comprising some of his designs done for the Centre.\nIn 1962\, when he returned to teach at the MS University in Baroda\, Subramanyan was instrumental in founding the Fine Arts Faculty’s annual fair\, for which he designed the first of his toys\, a prime example of his desire to collapse boundaries between activities that promoted working with one’s hands. It was also for the fairs that Subramanyan began to experiment with illustrations for books\, often aimed at children\, a facet of his practice that would reveal itself more forcefully in the decades to come. \nIn June 2023\, an exhibition of the artist’s work at Chatterjee & Lal’s Colaba gallery will display objects drawn from similar sources but\, this time\, curated from an art-historical perspective. \nThe purpose: to celebrate the pioneering ideas of Subramanyan around the production\, the dissemination and the consumption of art\, craft and design in India. \nC&L Design\, Chatterjee & Lal\, Seagull Foundation for the Arts.
URL:https://chatterjeeandlal.com/event/do-hands-have-a-chance-k-g-subramanyan-and-design/
LOCATION:47-A: Design Gallery\, 47-A\, Kotachi Wadi\, Ambewadi\, Girgaon\, Mumbai 400 004.\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2023/05/1967_KGS_1967_PREPARATION-FOR-FAIR-AT-FACULTY-OF-FINE-ART-_VADODARA_BNG5_JB1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230415T120000
DTEND;TZID=UTC:20230507T190000
DTSTAMP:20260513T132353
CREATED:20230412T091307Z
LAST-MODIFIED:20230412T091307Z
UID:4453-1681560000-1683486000@chatterjeeandlal.com
SUMMARY:The House Style: Culture of the Expanded Book
DESCRIPTION:C&L Design presents The House Style: Culture of the Expanded Book\, bringing together a range of important India-based publishing houses and self-published authors. In addition to presenting an array of books focussed on arts and culture\, the exhibition also pays particularly attention to publishing projects that have been informed by\, or have provided impetus to\, objects and artworks in other media: this includes film\, photography\, painting\, prints\, sculpture\, soundscapes\, even performance. The sheer diversity of material presented indicates the vibrancy and experimental nature of expanded book culture in India at present. \nThe House Style is the second time C&L has looked to the world of books and book design. In 2016\, Rukminee Guha Thakurta curated Zones of Privacy\, bringing together both self-published publications and distributed editions.
URL:https://chatterjeeandlal.com/event/the-house-style-culture-of-the-expanded-book/
LOCATION:47-A: Design Gallery\, 47-A\, Kotachi Wadi\, Ambewadi\, Girgaon\, Mumbai 400 004.\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2023/04/47-A-WhatsApp-Invite.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230309T110000
DTEND;TZID=UTC:20230429T190000
DTSTAMP:20260513T132353
CREATED:20230302T094056Z
LAST-MODIFIED:20230425T123541Z
UID:4430-1678359600-1682794800@chatterjeeandlal.com
SUMMARY:Hetain Patel: Cars & Carpets
DESCRIPTION:London-based Hetain Patel returns for his fifth solo at Chatterjee & Lal with a series of paintings and carpet works. Now entering the third decade of his practice\, he remains committed to a multidisciplinary approach and this is his first time presenting a show of paintings in India\, following a return to drawing during the Covid-related lockdowns of recent years. \nContinuing to introduce the autobiographical into his work\, these paintings take their aesthetic cues from two important memories\, both planted during the artist’s childhood growing up in the UK: the first is the gleaming black car paint applied to the hearses that Patel’s father produced in his company’s garage workshop; the second – carpet patterns popular during the 1970s – stems from a carpet belonging to his late grandmother Lakshmiben Patel\, affectionately called “Baa” (“Mother” in Gujarati) by all of his family. Followers of Patel’s work may recognise the predominant carpet pattern from his existing photography works (Baa’s House\, 2015)\, films (The Jump\, 2015) and performances (Baa’s Gold 10\, 2021). For Patel\, the paintings and carpet pieces are repeated attempts to keep alive that which is fading. In recent years he has been concerned with the loss of first-generation immigrants in diaspora communities as they grow older and pass away. \nBaa and her family emigrated from Gujarat\, North India\, via Kenya to the northern UK city of Bolton in 1967. There\, a large Victorian terrace building became home to several generations of Patels\, including Hetain – until his parents were able to move into a home of their own. This cross-generational household formed an important marker during the artist’s early years and created a special bond between him\, his family\, and the house; a bond that continued even after Baa’s passing and the subsequent sale of the property.  Details of the house and its inhabitants are brought back to life in this exhibition. The images on the boards reproduce photographs from the Patel family archive\, using geometrical lines and carpet patterns from Baa’s house. The photographic source material of the works date from the early 1970s until the late 2010s. \nIn keeping with Patel’s approach to the mediums he employs\, we are invited into a visual language that is both familiar and unexpected in the context of gallery spaces. Visible brush strokes of figurative paintings sit somewhat uneasily with the industrial high gloss of automotive paint\, giving a mirror finish that implicates viewers within Patel’s domestic scenes\, either as visitors or\, even\, intruders. Indeed\, introducing painting of any kind here is a potential a smokescreen\, as the works are more closely related to domestic photography than the canon of Western art history that formed the basis of the artist’s training. \nPatel’s family have always avidly documented their own history in the UK\, with thousands of almost identical configurations of birthdays\, weddings and other family gatherings. Taking photographs\, and arranging their display\, during the analogue era was a way of marking a family’s existence. Today with digital photography feeling more disposable\, Patel employs a medium that continues to command cultural relevance. These painted transformations of his family are tangible objects that speak of a particular time in history\, whilst their mirror-like surfaces\, by their very nature\, reflect the present. \n\nHetain Patel (b. 1980) \nHetain Patel is a London based artist and filmmaker. \nBorn in Bolton\, UK\, he completed his Diploma Foundation Studies in Art and Design from The University of Salford\, UK in 2000 and completed his BA in Fine Art\, from The Nottingham Trent University\, UK in 2003. \nPatel’s films\, sculptures\, live performances\, paintings and photographs have been exhibited worldwide in galleries\, theatres\, and on iconic public screens including Piccadilly Circus\, London and Times Square\, New York. His works have been presented at the Venice Biennale\, Ullens Centre for Contemporary Art\, Beijing and Tate Modern\, London and even performing arts spaces such as Sadler’s Wells\, London\, where he is a New Wave Associate. \nOver the past decade\, Patel has had multiple solo and group exhibitions at venues such as Whitechapel Gallery\, London\, UK; Manchester Art Gallery\, UK; New Art Exchange\, Nottingham\, UK; Chatterjee & Lal\, Mumbai\, IN and John Hansard Gallery\, Southampton\, UK. He is the winner of the Film London Jarman Award\, 2019\, Kino Der Kunst Festival’s Best International Film 2020\, and was selected for British Art Show 9\, 2021/22. In 2021 Patel received a Paul Hamlyn Foundation Artist Award\, a Henry Moore Foundation Award\, declined a British Empire Medal and was a judge on Sky Arts television series\, Landmark. \nHe has also exhibited in museums around the world and has been collected by major institutions such as Tate Modern\, UK; British Council\, UK; Arts Council England\, UK; M+ Museum\, Hong Kong; the UK Government Art Collection; and KNMA New Delhi\, IN.
URL:https://chatterjeeandlal.com/event/hetain-patel-cars-carpets/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2023/03/IMG_5538-e1677922036750.jpeg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230112T110000
DTEND;TZID=UTC:20230225T190000
DTSTAMP:20260513T132353
CREATED:20230110T055906Z
LAST-MODIFIED:20230110T065358Z
UID:4398-1673521200-1677351600@chatterjeeandlal.com
SUMMARY:Nityan Unnikrishnan | Every Day is an Admission of Guilt | MGW 2023
DESCRIPTION:Chatterjee & Lal is excited to be part of the 11th edition of MGW and looks forward to hosting Nityan Unnikrishnan’s solo show at the gallery! \nIn Nityan Unnikrishnan’s Every Day is an Admission of Guilt\, both the painted and sculpted works raise questions about space\, formalism\, and content; there is a residual tension between the way Unnikrishnan represents controlled indoor spaces and the unconfined outdoors. Indoors\, the colours are more homogeneous\, the shapes more regular\, and the lines well-defined. Indoor spaces seem intentional and organized; like the painting’s frame itself\, contained and containing. Not so outside\, where the lines are hardly ever straight\, and a diverse palette often bursts formality and realism. From these latter amorphous and fluctuating spaces emerge the artist’s sculptures too\, titled Avarna Sutra (Edicts of the Casteless) neither limited by shape\, nor by perspective. Every Day is an Admission of Guilt is Nityan Unnikrishnan’s seventh exhibition at Chatterjee & Lal\, and\, for many of us\, sculpture is new territory. This exhibition feels familiar\, therefore\, and also challenging as it grapples with the artist’s own changing media and sensibility. Through sculpture\, Unnikrishnan teases us\, inviting us to speculate about his body of work retrospectively. How does a new medium—ceramics\, in this case—trace an artist’s intellectual journey? All histories are presentist\, as a historian would glibly admit: does an individual artist’s latest work similarly rewrite his own artistic past? \n~ Kedar A. Kulkarni \nExcerpt of exhibition text by Kedar A. Kulkarni.
URL:https://chatterjeeandlal.com/event/nityan-unnikrishnan-every-day-is-an-admission-of-guilt-mgw-2023/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2023/01/DSC_5673.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20221124T110000
DTEND;TZID=UTC:20221231T190000
DTSTAMP:20260513T132353
CREATED:20221121T094319Z
LAST-MODIFIED:20221121T094521Z
UID:4358-1669287600-1672513200@chatterjeeandlal.com
SUMMARY:Group show | Knotted Roots
DESCRIPTION:Chatterjee & Lal is pleased to announce the opening of a new exhibition\, ‘Knotted Roots’\, presenting works by Shanti Dave\, Akkitham Narayanan\, Nareen Nath\, Laxman Pai\, Sohan Qadri\, P. C. Sagara and Nelly Sethna. \nThis exhibition comprises art objects dating from the 1950s until the 1990s\, by artists whose mode of expression was primarily abstraction and who were often influenced and informed by the concepts\, colours and forms associated with India’s rich artistic heritage. This group of works also represent a particular kind of systematic collecting  prevalent in India’s larger cities up until the mid-1990s (a moment which saw the onset of the contemporary art scene as it is now understood). The exhibits in ‘Knotted Roots’ tease out the concerns of artists and collectors at a critical time of transition in India’s art history\, and signpost many preoccupations of artists working today.
URL:https://chatterjeeandlal.com/event/group-show-knotted-roots/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2022/11/DSC_5376.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221119T173000
DTEND;TZID=UTC:20230115T190000
DTSTAMP:20260513T132353
CREATED:20221115T141837Z
LAST-MODIFIED:20221115T141837Z
UID:4312-1668879000-1673809200@chatterjeeandlal.com
SUMMARY:Common Ground: Meera Mukherjee and the carpet makers of Muzaffarpur
DESCRIPTION:Meera Mukherjee (1923 – 1998)\, best known as a sculptor of bronzes\, was committed throughout her career to an understanding of art and design that travelled outside the confines of the academy and into the interiors of the country. \nTo further her own practice she had learned metalworking techniques in Bastar\, Chhattisgarh\, and\, indeed\, had been engaged by the Archaeological Survey of India (ASI) to document the work of communities in the production of metalwork. At the same time\, Mukherjee was driven by a powerful political commitment to help in the upliftment of marginalised communities. This was allied to her interest in teaching and her parallel career as a writer of children’s stories. \nMany of these interests coalesced between 1986 and 1991\, at a time when she had founded a small school in a village outside Calcutta (Dhankhet Vidyalaya)\, where her bronze casting took place. Inspired by watercolour drawings produced by children of the school\, Mukherjee worked with women in the village to realise the same imagery in the form of Kantha stitch-craft. This was an unusual and innovative attempt to improve the lives of poor village women. In an act of creative relay\, the resulting stitch paintings formed the spark for her to commission a series of hand-woven carpets in collaboration with out-of-work carpet weavers from Muzaffarpur. Mukherjee was able to achieve a patterning for each of the carpets that allowed them to be seen in the round: the carpet weavers repeated the sprightly compositions of individual Kantha stitch-paintings and\, as they did so\, they changed the orientation of the imagery. \nMukherjee sold these whimsical objects to her patrons in order to raise funds for the carpet makers. At the time of their production there was little understanding of quite how innovative the artist had been in forming entwined networks of sympathetic creative forces. Looking back from the perspective of 2022\, Mukherjee seems to anticipate the models of community design projects as well as design collectives and\, in this way\, marks her as a pioneer in India’s design history.
URL:https://chatterjeeandlal.com/event/common-ground-meera-mukherjee-and-the-carpet-makers-of-muzaffarpur/
LOCATION:47-A: Design Gallery\, 47-A\, Kotachi Wadi\, Ambewadi\, Girgaon\, Mumbai 400 004.\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2022/11/Untitled-design-17.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221119T173000
DTEND;TZID=UTC:20230115T190000
DTSTAMP:20260513T132353
CREATED:20221115T135600Z
LAST-MODIFIED:20221115T141255Z
UID:4309-1668879000-1673809200@chatterjeeandlal.com
SUMMARY:Mid-century Madras: Creative Dialogues in Art\, Craft and Industry
DESCRIPTION:The question of what it meant to be progressive\, in thought and form\, was a pressing one in the decades following Independence. This exhibition offers an insight into a moment when diverse players converged in mid-twentieth century Madras (now Chennai) to participate in this discussion\, enriching the aesthetic and cultural scenario. Of central importance was the Department of Industries\, the body managing the School of Arts and Crafts\, Madras and also taking initiatives to encourage industries in the region. Simultaneously\, at the national level\, the need for economic development resulted in the formulation of strategies and governmental bodies that channelised growth in various sectors. \nMid-century Madras: Creative Dialogues in Art\, Craft and Industry presents objects in ceramics\, textiles and metal that emerged both directly and indirectly as a result of steps taken to improve artistic industries and craft production in the Madras region. These exhibits speak of a sensibility shaped by ideas of utility\, popular appeal\, beauty\, marketability\, technical knowledge and economy. \nEmerging from governmental and private initiatives\, the ceramics that are on view here were successful attempts to tap into the local artistic and material resources. These products filled a gap in the market for ceramicware while also providing avenues of employment; especially for art students who did not have many career options then. \nAlso featured in the exhibition are textiles\, as also samples of artworks\, from the artists’ commune of the Cholamandal Artists’ Village that demonstrate the way in which craft and art intertwined to enrich each other. Motivated by the absence of art patronage\, and realising that craft had a ready market\, a group of artists associated with the art college in Madras established Cholamandal Artists’ Village where crafts-based practices were an integral aspect of their routine. \nUltimately\, this exhibition provides a glimpse of how the notion of being progressive was interpreted by different interest groups working in distinct but overlapping areas: by nation-builders who spearheaded initiatives aimed at socio-economic change; by designers who sought to inculcate a new aesthetic sensibility in domestic spaces; and by artists who desired to create a taste for modern art. \n  \n~ Vaishnavi Ramanathan
URL:https://chatterjeeandlal.com/event/mid-century-madras-creative-dialogues-in-art-craft-and-industry/
LOCATION:47-A: Design Gallery\, 47-A\, Kotachi Wadi\, Ambewadi\, Girgaon\, Mumbai 400 004.\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2022/11/Untitled-design-18.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221108T110000
DTEND;TZID=UTC:20221115T190000
DTSTAMP:20260513T132353
CREATED:20221105T120914Z
LAST-MODIFIED:20221110T085211Z
UID:4260-1667905200-1668538800@chatterjeeandlal.com
SUMMARY:Nikhil Chopra: Lands\, Waters\, and Skies
DESCRIPTION:We are delighted to announce a presentation at Chatterjee & Lal of the residues of Nikhil Chopra’s 2019 performance ‘Land\, Waters\, and Skies’. \nNikhil Chopra (born 1974) was The Met’s 2019-2020 Artist in Residence and he lived at The Met Fifth Avenue for nine continuous days in September 2019. \nChopra prepared for this performance over the course of more than a year. He immersed himself in the Met’s collection and its physical layout\, observing how audiences moved through the galleries. Chopra’s path during the performance inevitably traversed extraordinary spans of time and geography\, represented by the objects. The Met had displayed according to its own logic. He cut across fictional frontiers\, wandering from one place to another\, like a nomadic traveller\, carrying his own wares and materials\, observing and interacting with works of art that have been transferred from their original contexts. \nHis reflections on the histories of these objects and the stories of their acquisition by The Met was communicated through actions\, songs and the making of a monumental landscape. \nRolling out his bed each night and sleeping under camera surveillance\, Chopra connected the beat of his own pulse to the daily rhythm of the Museum. His itinerant path through the galleries would likewise echo the human displacement of past colonialism and present-day migration. \n  \nExcerpt by Shanay Jhaveri from the curatorial text.\nThe performance was curated by Shanay Jhaveri and Limor Tomer from The Met. \n  \nWatch The Met’s short film on the artist reflecting on the performance (starting at 4 mins 29 seconds): Click to view link.
URL:https://chatterjeeandlal.com/event/nikhil-chopra-lands-waters-and-skies/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2022/11/DSC03763.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220909T110000
DTEND;TZID=UTC:20221029T190000
DTSTAMP:20260513T132353
CREATED:20220906T120728Z
LAST-MODIFIED:20220906T122257Z
UID:4251-1662721200-1667070000@chatterjeeandlal.com
SUMMARY:Arshi Irshad Ahmadzai: Qissah-e Kabul
DESCRIPTION:Chatterjee & Lal announces Arshi Irshad Ahmadzai’s first solo exhibition with the gallery\, Qissah-e Kabul. \nThe paintings are inspired by the architecture\, gardens\, poetry\, and court paintings that flourished in the Mughal court at Kabul; they are representative of the era’s cosmopolitanism\, with the coming together of multiple aesthetic influences. \nThe journey of these works tell a story of their own. \nThe works in this series were all painted in 2021 when the artist was living in Afghanistan with her husband and his family. The exhibition comprises those works that she was able to rescue while fleeing Kabul after the Taliban’s siege of the capital. Ahmadzai managed to find safe passage out of the country through an Indian emergency evacuation mission. Despite her escape requiring her to pack up in a hurry\, she was able to fold these fabric works and fit them into a small rucksack. \nWhilst leaving Kabul\, the artist felt compelled to destroy over a hundred figurative artworks\, which\, if found on her person by the Taliban\, would have put her in extreme danger. As the artist says\, “The remaining works in this exhibition are relics\, for they are all that remain of a better past. These relics are my companions\, for they have travelled the same journey that I have. These companions are witnesses\, for they are those who have seen exactly what I have seen.”
URL:https://chatterjeeandlal.com/event/arshi-irshad-ahmadzai-qissah-e-kabul/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2022/09/Shua-e-Aftaab-o-bosa-e-zameen-When-the-Sun’s-Rays-Kiss-the-Earth-Artwork.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220724T110000
DTEND;TZID=UTC:20220909T190000
DTSTAMP:20260513T132353
CREATED:20220720T091359Z
LAST-MODIFIED:20220720T091650Z
UID:4240-1658660400-1662750000@chatterjeeandlal.com
SUMMARY:This Ground\, Plus: Khotachi Wadi in Design Context
DESCRIPTION:This design-led exhibition focuses on the history of Khotachi Wadi\, located in south Mumbai’s Girgaum\, through disciplines as diverse as architecture\, culinary histories\, speculative art\, early street photography and product design. In keeping with the mandate of C&L Design exhibitions\, a wealth of archival material has been brought into conversation with contemporary design objects. \nCurated by academic and local resident André Baptista\, along with Chatterjee & Lal\, the exhibition brings together the voices and stories of generations of residents at a moment of unique importance to the area. The distinctiveness of Khotachi Wadi is threatened by the erasure of its 19th and early 20th century bungalows and chawls. These structures – and the worlds created in and around them – have offered unique design solutions for centuries. \nKhotachi Wadi is a heritage precinct where built structures and cultural elements trace their antiquity to the early 19th century. Girgaum\, as an early historical village\, would have been filled with orchards and groves – memories preserved in the names of streets\, by-lanes\, and wadis. As part of the city’s expansion\, East Indian Christians\, who originally inhabited the Islands of Bombay and surrounding areas\, moved into the locality establishing an enclave complete with distinctive bungalows derivative of Portuguese Colonial Architecture mixed with regional sensibilities. \n  \nAbout the curators: \nAndré Baptista is a lecturer and consultant in Ancient Indian History\, Culture & Archaeology. His research interests include prehistory\, man-land relationships\, landscape evolution on the one hand and colonial history\, urban development and shaping of socio-cultural spaces on the other. He has a doctorate in Landscape and Environmental Archaeology from the Deccan College Postgraduate and Research Institute\, Pune\, India. André has represented Universities as well as the Archaeological Survey of India at a number of explorations and excavations at sites ranging from the prehistoric to the early medieval. \nHe is Visiting Faculty for Archaeology at the Kamla Raheja Vidynidhi Institute of Architecture and Environmental Studies (KRVIA)\, Juhu. In November 2017 he was appointed Assistant Editor of Man and Environment\, the biannual journal of the Indian Society for Prehistoric and Quaternary Studies (ISPQS)\, Pune. He has co-edited the 2017 felicitation volume ‘Rethinking the Past: A Tribute to Prof. V.N. Misra’ published by ISPQS. He was a consultant\, and a contributing author of the subsection on “Heritage” for Spenta Multimedia’s “The Endless City: Mumbai”\, a book by the District Planning Committee\, Collector Office\, Mumbai Suburban District. His forthcoming edited volume “Adaptations Across Antiquity: Tracing Quaternary Environments and Prehistoric Cultural Responses” is currently in press. Most recently\, he served as a Research Consultant for the Maritime History Society\, Western Naval Command. \n\nC&L Design is engaged with design histories and\, through these histories\, with contemporary design. As part of Chatterjee & Lal\, it draws on a two decade long exhibition history that has often focussed on the intersection of art and design.
URL:https://chatterjeeandlal.com/event/this-ground-plus-khotachi-wadi-in-design-context/
LOCATION:47-A: Design Gallery\, 47-A\, Kotachi Wadi\, Ambewadi\, Girgaon\, Mumbai 400 004.\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2022/07/2.-Dcunas-folder-KW-FILES-Monsoon-Scenes-View-of-KW-from-47C2-BF-003.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220715
DTEND;VALUE=DATE:20220905
DTSTAMP:20260513T132353
CREATED:20220710T110712Z
LAST-MODIFIED:20220710T110743Z
UID:4218-1657843200-1662335999@chatterjeeandlal.com
SUMMARY:Nasreen Mohamedi: Autobiography of a Line
DESCRIPTION:Autobiography of a Line: the photographs\, prints and paper cutouts of Nasreen Mohamedi \nImagination fills a space with spirit and meaning. Reciprocally\, that space then evokes feeling\, memory\, thought – giving it form. \nTaking from Gaston Bachelard’s ‘The Poetics of Space’\, 1958 – an interrogation into the meaning of spaces which preoccupy poetry (both intimate spaces and those of wide expansion) – this exhibition attempts to trace the reception of the poetic image in Nasreen Mohamedi’s photographs\, prints and paper cut outs. In these works\, the artist employed ideas around space as well as demonstrating the importance to her practice of experimentation with line and form. \nWhether or not Mohamedi saw herself as a photographer\, her practice can be linked by what\, at times\, might seem like an  impulse into opening up a multiplicity of photographic worlds of her own making. Whilst sometimes this involved focusing on the built environment\, the artist concurrently took another approach towards a minimalist aesthetics of constructing or documenting abstracted photographic geometries. \nNasreen Mohamedi (1937 – 1990) \nMohamedi was born in Karachi\, raised in Bombay and completed her studies in London in Paris. The artist began teaching at Maharaja Sayajirao University\, Baroda in 1972. Whilst primarily remembered today for her works on paper\, there has been increasing scholarly interest in her photographic work. Since Mohamedi never exhibited these works in her lifetime\, exhibitions of her photography have been very rare\, and ‘Autobiography of a Line’ marks a first in Indian exhibition history.
URL:https://chatterjeeandlal.com/event/nasreen-mohamedi-autobiography-of-a-line/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220429T183000
DTEND;TZID=UTC:20220429T200000
DTSTAMP:20260513T132353
CREATED:20220423T120515Z
LAST-MODIFIED:20220423T120515Z
UID:4145-1651257000-1651262400@chatterjeeandlal.com
SUMMARY:Moving Focus\, India | Book Release and Panel Discussion | IAF 2022
DESCRIPTION:India Art Fair\, Mortimer Chatterjee and The Shoestring Publisher are delighted to invite you to the book release of Moving Focus\, India on Friday\, 29 April at 6:30pm at the India Art Fair auditorium. \nThe event will begin at 6:30pm sharp with a panel discussion on Moving Focus\, India and the questions it raises. Our distinguished speakers are all contributors to the book: Rahaab Allana; Annapurna Garimella; Jyotindra Jain; and Nilima Sheikh. The discussion will be moderated by Mortimer Chatterjee\, gallerist and the book’s general editor. \nMoving Focus\, India is a first-of-its-kind exploration of Indian art made since 1900. From long-lost paintings to ephemeral sculptures\, from whimsical performances to iconic public murals\, and from independent films to landmark design objects\, the surprising and provocative contents of this book have been provided by an exceptional and varied group of experts. \nThe book invited 54 artists\, curators\, historians and writers to each create a list of five works of art\, made at any time since 1900\, by artists living in India or identifying as part of its diaspora. \n  \nCollector’s edition\nA numbered edition of 350 copies – two hardback volumes in a clamshell box with two limited edition prints by artists Nilima Sheikh and Vivan Sundaram.\n2022\nHardcover\n620 pages (with 6 foldouts)\nOver 1000 colour illustrations \nSlipcase edition\nTwo paperback volumes in a slipcase\n2022\n620 pages (with 6 foldouts)\nOver 1000 colour illustrations \n  \nPanelist biographies: \nRahaab Allana is Curator\, Alkazi Foundation for the Arts\, New Delhi; Fellow of the Royal Asiatic Society\, UK; and was previously honorary research associate at University College\, London. The founding editor of PIX and founder of the ASAP/ art app\, Allana is on the board of Trans Asia Photography and guest-edited Aperture magazine’s 2021 summer issue on Delhi. \nAnnapurna Garimella is a designer and an art historian. Her research focuses on late medieval Indic architecture and the history\, pedagogies and practices of vernacular visual and built cultures in India after Independence. Garimella is the managing trustee of the not-for-profit organization Art\, Resources and Teaching Trust\, and heads Jackfruit Research and Design\, an organization with a specialized portfolio of design\, research and curation. Jackfruit’s curatorial projects have included ‘Vernacular\, in the Contemporary’ (Devi Art Foundation\, New Delhi\, 2010–2011)\, ‘Mutable: Ceramic and Clay Art in India Since 1947’ (Piramal Museum of Art\, Mumbai\, 2017) and ‘Barefoot School of Craft: Made in Goa’ (Serendipity Arts Festival\, 2017–2018). She co-edited The Contemporary Hindu Temple: Fragments for a History (2019)\, edited The Long Arc of South Asian Art: A Reader in Honour of Vidya Dehejia (2021)\, and is preparing the manuscript for Digesting the Past: The Discourse of Sacralized Architectural Renovation in Southern India (14th–17th Centuries). \nAn eminent scholar of Indian arts\, Jyotindra Jain has published extensively in his areas of specialization and curated exhibitions at some of the most respected institutions in India and abroad. A former director of the National Crafts Museum\, professor of Arts and Aesthetics at Jawaharlal Nehru University (JNU)\, and member secretary of the Indira Gandhi National Centre for the Arts\, he has been a visiting professor at Harvard University and Berlin’s Humboldt University\, as well as a Getty Distinguished Professor at the JNU. \nNilima Sheikh. Born 1945\, New Delhi\, India. Lives and works in Vadodara and New Delhi. Selected Solo Exhibitions: 2017–2018 – ‘Terrain: Carrying Across Leaving Behind’\, Chemould Prescott Road\, Mumbai; Gallery Espace\, New Delhi; ‘Lines of Flight’\, Asia Art Archive\, Hong Kong. 2014 – ‘Each night put Kashmir in your dreams’\, The Art Institute of Chicago. 2010 – ‘Each night put Kashmir in your dreams’\, Chemould Prescott Road\, Mumbai. Selected Group Exhibitions: 2020 – ‘Minyatur 2.0: Miniature in Contemporary Art’\, Pera Muzesi\, Istanbul; ‘Seismic Movements’\, Dhaka Art Summit. 2019 – ‘5 Artists 5 Projects’\, Gallery Chemould Prescott Road\, Mumbai. 2018 – Kochi-Muziris Biennale\, Kochi. 2017 – Documenta 14\, Athens and Kassel. \nHaving completed his studies in art history in the UK\, London-born Mortimer Chatterjee moved to India to pursue his interest in art from the subcontinent. He co-founded Chatterjee & Lal with his wife\, Tara Lal\, in 2003 and\, today\, the gallery is an important node in Mumbai’s maturing art scene. In 2010\, Chatterjee co-authored a publication on the art collection of the Tata Institute of Fundamental Research (TIFR)\, and also curated an exhibition of the collection at the National Gallery of Modern Art\, Mumbai. In addition to his columns on art and culture in GQ India and Mumbai Mirror\, he has contributed articles to the Indian editions of journals such as Architectural Digest and Domus. \n  \nPlease RSVP at pooja@theshoestringpublisher.com or WhatsApp +91 98202 98246.\nDue to covid protocols\, numbers will be restricted. \nWhile the event is free and open to all\, please note that entry to the fair will require a pass which you can book here: https://bit.ly/3Lc3Jpw
URL:https://chatterjeeandlal.com/event/moving-focus-india-book-release-and-panel-discussion-iaf-2022/
LOCATION:Auditorium\, India Art Fair\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2022/04/MF-IAF-Book-Launch-Creative.png
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220421T120000
DTEND;TZID=UTC:20220618T190000
DTSTAMP:20260513T132353
CREATED:20220419T072331Z
LAST-MODIFIED:20220531T102333Z
UID:4143-1650542400-1655578800@chatterjeeandlal.com
SUMMARY:Group Show | Lost In Space
DESCRIPTION:Chatterjee & Lal is pleased to announce the opening of a new exhibition\, Lost In Space\, presenting recent work by Minam Apang\, Sahej Rahal\, Gagan Singh and Nityan Unnikrishnan. \nThe exhibits are mostly small format paper works\, portraying the animate and inanimate inhabitants of strange worlds. Creatures creep and crawl\, bounce and bob; landscapes of jungle vines and crash sites\, cities set in deep space. Stylistically\, the works draw often from the genres of the comic book and the graphic novel\, black humour abounds in their subject matter. Probe a little deeper and we can find metaphors to the contemporary moment; to a world\, this world\, lost in space.
URL:https://chatterjeeandlal.com/event/group-show-lost-in-space/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2022/04/DSC_7760.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220310T110000
DTEND;TZID=UTC:20220409T190000
DTSTAMP:20260513T132353
CREATED:20220308T123714Z
LAST-MODIFIED:20220308T123714Z
UID:4140-1646910000-1649530800@chatterjeeandlal.com
SUMMARY:Amshu Chukki | Different Danny and Other Stories
DESCRIPTION:We are delighted to announce the opening of Amshu Chukki’s second solo exhibition at Chatterjee & Lal! \nBehind the cinematic image are invisible processes of divination – bodies and apparatus that converge to form contraptions for production. Several practices and objects associated with cinema are often identified using terminology only understood by those in the the filmmaking fraternity. This invisibility is both violence and possibility to those it envelopes. In Different Danny and Other Stories\, Amshu Chukki foregrounds these skills\, devices and conditions to conjure an atmosphere that complicates labour and its relationship to the architecture of cinema. \nHere\, props\, stands\, temporary sets and stretchable bodies enmesh with desire\, demand and danger to come to terms with the inevitability of adjustment and change. It either mimics or it challenges the natural – conditions such as temperature\, season and light are either resisted or required\, for example. Through film\, installations and paintings\, Chukki delves into cinematic time through and with these ‘background’ protagonists. Nonlinear\, ductile and sometimes suspended: time is unraveled against its very source – the spectacular city.
URL:https://chatterjeeandlal.com/event/amshu-chukki-different-danny-and-other-stories/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2022/03/Work.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220219T101500
DTEND;TZID=UTC:20220508T180000
DTSTAMP:20260513T132353
CREATED:20220218T090031Z
LAST-MODIFIED:20220218T090238Z
UID:4127-1645265700-1652032800@chatterjeeandlal.com
SUMMARY:Sahej Rahal | Ancestors | Jehangir Nicholson Art Foundation\, CSMVS
DESCRIPTION:We are delighted to announce the opening of Sahej Rahal’s solo exhibition\, Ancestors (पू र्व ज) curated by Puja Vaish on occasion of the CSMVS Museum’s centenary at the Jehangir Nicholson Gallery. \nThe exhibition brings together an extensive body of Rahal’s work that resonates with the underpinnings of the Museum in telling stories of civilisations. \nAncestors stages sculptural installations\, drawings\, paintings\, writings\, performance and an AI programme as an archaeolgical tomb-site of the future. Visitors enter a make-believe crypt with imagined relics of a posthuman civilisation. \nUsing archaeology as a metaphor\, the Museum becomes a space to interrogate narratives that shape the world\, its inhabitants and belief systems through a consideration of the human\, ecological and digital imprints that are left behind. \nThis project was made possible by the support of The Sher-Gil Sundaram Arts Foundation (SSAF) Installation Art Grant 2019.
URL:https://chatterjeeandlal.com/event/sahej-rahal-ancestors-jehangir-nicholson-art-foundation-csmvs/
LOCATION:Jehangir Nicholson Art Foundation\, CSMVS\, East Wing\, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya\, 159-161\, Mahatma Gandhi Road\, Kala Ghoda\, Fort\, Mumbai\, Maharashtra\, 400023\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2022/02/Sahej-Social-media1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220120T190000
DTEND;TZID=UTC:20220120T200000
DTSTAMP:20260513T132353
CREATED:20220118T080744Z
LAST-MODIFIED:20220118T080744Z
UID:4098-1642705200-1642708800@chatterjeeandlal.com
SUMMARY:IG LIVE: Ashish Avikunthak in conversation with Ashish Rajadhyaksha
DESCRIPTION:Join us this Thursday for an hour-long interaction between filmmaker and anthropologist Ashish Avikunthak and film and cultural theorist Ashish Rajadhyaksha as they discuss the current trends and state of Indian cinema\, the role of online streaming platforms\, issues surrounding censorship in films\, and plenty more. The session will also delve into Ashish Avikunthak’s filmmaking practice in India since the mid nineties. \n \nDate: Thursday\, 20 January 2022\nTime: 7:00 PM to 8:00 PM (IST)\nVenue: Instagram Live on the MUBI India (@mubiindia) and Chatterjee & Lal (@chatterjeeandlal) Instagram handles.
URL:https://chatterjeeandlal.com/event/ig-live-ashish-avikunthak-in-conversation-with-ashish-rajadhyaksha/
LOCATION:IG Live
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2022/01/Ashish-Avikunthak-IG-Live_1080x1080.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211204T110000
DTEND;TZID=UTC:20220108T190000
DTSTAMP:20260513T132353
CREATED:20211204T084654Z
LAST-MODIFIED:20211204T114206Z
UID:4009-1638615600-1641668400@chatterjeeandlal.com
SUMMARY:Hetain Patel | Trinity: A Prologue
DESCRIPTION:In anticipation of the India release of Hetain Patel’s new film TRINITY at the gallery in January 2022\, we are pleased to open an exhibition of the artist’s existing work covering 18 years of practice\, much of which has never been seen before in the country. \nThe exhibition includes photography\, video and documentation of performance. \n\n\n\nSacred Bodies Series\nPhotographic prints\n2004/5 \n\n\nThe artist’s earliest work comprised photographic self-portraiture imbued with a performative element. In Sacred Bodies\, Patel focussed on pigments from rituals and ceremonies he grew up with as a child of South Asian parents based in the UK. These pigments are strong signifiers of his Indian identity. The Kanku and Mehndi works show the end result of self imposed rituals in which the artist took up to six hours to decorate his own body with these materials. The work entitled Gajra references wedding ceremonies and sees Patel wrapping his body with an exaggeratedly long garland\, going beyond adornment almost into restraint. \n\nBaa’s Gold 10\n2021\nDuration: 32 mins 53 secs\nCommissioned by The National Gallery\, London \n\n\nBaa’s Gold 10 recounts the story of the burglary of Hetain Patel’s ‘Baa’ – or grandmother in Gujarati – whilst at home in Bolton\, UK\, where she lived alone. In a pursuit for gold\, Patel’s Baa endured a violent ordeal at the hands of a gang of men who specifically targeted Hindu widows for their cultural tradition of only wearing gold jewellery. As the story is recounted multiple times in the form of a spoken screenplay by a group of performers\, Baa regains her own agency\, enacting revenge in the final version of the screenplay. \nPatel’s performances process events from his own biography through a range of media\, often recounting these stories in various ways. Patel presents his own domestic British Indian story in amongst the Western canon of art history as equally epic and fantastical\, using both the traditional act of live performance\, and the modern form of cinematic storytelling. \n\n\n\nDon’t Look: Hetain Patel & Amy May\n2021\nDuration: 59 mins 15 secs \n\n\nFrom epic Hollywood-like scores to Gujarati rap\, visual artist and performer Hetain Patel presents an evening of his film works with new music written and arranged by composer Amy May. Featured works include the U.S. premiere of Patel’s award-winning Afro Kung Fu spectacle\, Don’t Look at the Finger\, and the world premiere of new music by May as part of Patel’s film God is a DJ. \nHosted by Patel and May from the Genesis Cinema in London\, the evening is woven together with behind-the-scenes anecdotes and Patel’s unique brand of humour\, performance\, and politics. \nThis work was commissioned by Rich Mix and Sadler’s Wells London\, with support from Film and Video Umbrella. This work was adapted by Asia Society Museum\, New York for the inaugural Asia Society Triennial: “We Do Not Dream Alone” U.S. premiere.
URL:https://chatterjeeandlal.com/event/trinity-a-prologue-hetain-patel/
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2021/12/2.-Mehndi-7.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210909T173000
DTEND;TZID=UTC:20210909T180000
DTSTAMP:20260513T132353
CREATED:20210717T071557Z
LAST-MODIFIED:20210907T103105Z
UID:3872-1631208600-1631210400@chatterjeeandlal.com
SUMMARY:Walkthrough of The Unpaved\, Crusty\, Earthy Road | Nelly Sethna: A Retrospective
DESCRIPTION:  \nJoin Nancy Adajania for a walkthrough of The Unpaved\, Crusty\, Earthy Road | Nelly Sethna: A Retrospective \nThis first-ever retrospective of Nelly Sethna (1932-1992) contextualises this all-but-forgotten fibre artist’s versatile and experimental practice: as a weaver\, textile designer\, researcher and crafts activist. \nWe present Sethna as a transcultural practitioner\, a participant in the global legacy of Nordic modernism through her apprenticeship with Marianne Strengell at the Cranbrook Academy of Art\, as well as an inheritor of the ecumenical world-view of Kamaladevi Chattopadhyay in India\, which embraced both the traditional and modern arts. \nA research-driven exhibition\, this retrospective gathers and interprets the empirical evidence to propose a radical model of Sethna’s more than three-decade-long career as comprising several phases\, culminating in the expanded\, collaborative practice designated here as the ‘Nelly Sethna studio’. It acknowledges the role played by Nelly’s various collaborators at different times in her career – among them Roda Gazdar\, Jerbai Shaw\, Bhanu\, Chandrabhaga\, Mansingh\, as well as her devoted husband Homi Sethna and her chief associate and soul sister Roshan Mullan – thus illuminating the distinctive stylistic and conceptual strands in her art. \nWe include never-before-seen archival material that maps her exhibition itinerary from the 1960s to the early 1990s; her research trips to Iran and Kutch; and rare documentation of her fibre mobiles\, draperies and room dividers from the 1960s\, and her ambitious corporate commissions from the 1970s. \nA majority of the exhibits are drawn from the Jamshyd & Pheroza Godrej Collection. Dr. Pheroza J. Godrej has long collected outside the sanctified norms of modernist painting\, championing the works of textile artists\, ceramicists and subaltern artists. \nThe title of the show is a quote from Nelly\, who believed that nature was the perennial guide to design. In her own practice\, she always chose the unpaved road\, to be shaped by walking\, and never the road already paved by custom and habit. \n(Text by Nancy Adajania)
URL:https://chatterjeeandlal.com/event/the-unpaved-crusty-earthy-road-retrieving-nelly-sethna-the-forgotten-fibre-artist/
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2021/07/Walkthrough-invite_3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210826T173000
DTEND;TZID=UTC:20210829T170000
DTSTAMP:20260513T132353
CREATED:20210823T124033Z
LAST-MODIFIED:20210823T124255Z
UID:3904-1629999000-1630256400@chatterjeeandlal.com
SUMMARY:Weekend drawing workshop with Gagan Singh
DESCRIPTION:Culturebagh invites you to register now to attend a weekend virtual drawing workshop\, “Come let’s get inky!”\, with Chatterjee & Lal artist\, Gagan Singh\, from 26 August\, Saturday\, 5:30 pm to 29 August\, Sunday\, 5:00 pm. \nIt’s a weekend drawing party. Come let’s celebrate drawing in all its glory. Let us spend the the next three days rediscovering the hidden truths which lie within us through the magic of graphite\, ink and other materials. \nAll you have to do is go out and draw. Or go within you. Inward or outward. Who really cares? Its weekend drawing party. \nThe artist is known for his quirky\, whimsical drawings which often reflect on daily life in urban India. In addition to offering an insight into his process\, Gagan will encourage participants to make their own drawings during the session and highlights of the event \nA fee of INR 1500 will be charged. Limited participation\, so hurry now! \nPay and register for this workshop here \nCulturebagh is an initiative supported by Chatterjee & Lal\, a Mumbai-based gallery for contemporary art and historical material.
URL:https://chatterjeeandlal.com/event/weekend-drawing-workshop-with-gagan-singh/
LOCATION:Zoom\, Online\, India
CATEGORIES:Culturebagh,Workshop
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2021/08/IMG_4345.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210708
DTEND;VALUE=DATE:20210830
DTSTAMP:20260513T132353
CREATED:20210507T103643Z
LAST-MODIFIED:20210717T074728Z
UID:3774-1625702400-1630281599@chatterjeeandlal.com
SUMMARY:The Green Room by Naveen Kishore
DESCRIPTION:
URL:https://chatterjeeandlal.com/event/naveen-kishore-performing-the-goddess/
LOCATION:Chatterjee & Lal\, India
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2021/05/Website-Banner_1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210610T180000
DTEND;TZID=UTC:20210610T190000
DTSTAMP:20260513T132353
CREATED:20210609T083703Z
LAST-MODIFIED:20210609T094032Z
UID:3854-1623348000-1623351600@chatterjeeandlal.com
SUMMARY:In Touch Edition 6 | Gallerists Live
DESCRIPTION:To mark the launch of In Touch edition 6\, eleven galleries from our participating galleries across India and Dubai will take you through a presentation of their online viewing rooms. \nJoin here\nSharing details of the artists\, artworks and also taking in questions from attendees\, this one hour online chat will allow collectors\, curators and art lovers to view the works on display.
URL:https://chatterjeeandlal.com/event/in-touch-edition-6-gallerists-live/
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2021/06/2021-In-Touch-_-Ed-6_Gallerists-Live-1080-px-x-1350-px_LR.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210528
DTEND;VALUE=DATE:20210829
DTSTAMP:20260513T132353
CREATED:20210518T203847Z
LAST-MODIFIED:20210521T103940Z
UID:3787-1622160000-1630195199@chatterjeeandlal.com
SUMMARY:Cloud Keepers | Sahej Rahal | IN Touch Edition 6
DESCRIPTION:Chatterjee & Lal is pleased to present a new body of drawings by Mumbai-based artist\, Sahej Rahal for IN Edition 6. \nJoin us on Wednesday\, 28th May 2021 on www.artintouch.in. \nIN Touch is a collaborative platform created in partnership between galleries to present online exhibitions.
URL:https://chatterjeeandlal.com/event/cloud-keepers-sahej-rahal-in-touch-edition-6/
ATTACH;FMTTYPE=image/jpeg:https://chatterjeeandlal.com/wp-content/uploads/2021/05/2021-In-Touch-_-Ed-6_Insta-Post.-1080-px-x-1080-px-jpg.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210114T100000
DTEND;TZID=UTC:20210424T180000
DTSTAMP:20260513T132353
CREATED:20210107T082853Z
LAST-MODIFIED:20210312T085923Z
UID:3745-1610618400-1619287200@chatterjeeandlal.com
SUMMARY:Head In The Clouds
DESCRIPTION:Over the last decade\, Chatterjee & Lal has hosted a number of exhibitions in an ongoing series titled Simple Tales. The latest instalment is titled Head in the Clouds. Each iteration of the series has brought together works from contemporary and historical contexts across a range of media. The proposition of Simple Tales is that art has always provided artists the ability to invest into their artworks the potentiality of communication across space and time. \nArtists in the show include: Arshi Ahmadzai; Minam Apang; Nikhil Chopra; Anju Dodiya; Piyali Ghosh; Kausik Mukhopadhyay; Rashid Rana; Sahej Rahal; Gagan Singh; Nityan Unnikrishnan
URL:https://chatterjeeandlal.com/event/head-in-the-clouds/
ATTACH;FMTTYPE=image/png:https://chatterjeeandlal.com/wp-content/uploads/2021/01/2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201219T180000
DTEND;TZID=UTC:20201219T193000
DTSTAMP:20260513T132353
CREATED:20201212T085401Z
LAST-MODIFIED:20201212T092934Z
UID:3729-1608400800-1608406200@chatterjeeandlal.com
SUMMARY:Textiles of Banaras
DESCRIPTION:Visit Bangalore International Centre’s website here \nRegister for the sessions here: \nArt of Gold- https://us02web.zoom.us/webinar/register/7016076833342/WN_a2P8HLkzQmaafn8ugCtDYQ\nCulturebagh- https://us02web.zoom.us/webinar/register/2816075398059/WN_a2P8HLkzQmaafn8ugCtDYQ\nYarn Club- https://us02web.zoom.us/webinar/register/4716075398127/WN_a2P8HLkzQmaafn8ugCtDYQ\n  \nThe luxurious\, handwoven brocades of Banaras (Varanasi) have held the imagination of India and the world for a long time. By the late 19th-century\, these had emerged as among the most fashionable of fabrics worn across the subcontinent. Till date\, the city remains one of the country’s most prominent handloom centres\, constantly innovating with new materials and aesthetic sensibilities. In this illustrated lecture\, Delhi-based writer and curator Mayank Mansingh Kaul will present the many traditions and techniques which define hand weaving in Banaras such as Rangkaat\, Tanchoi\, Jamdani and the Gyaser. Focussing on the period from the early 20th century to now\, he will discuss how they have been shaped by a wide range of influences\, from other parts of the country to Europe and Asia. \nPresented by The Art of Gold- Art of Gold is a series of lectures\, symposia and events initiated by Swati & Sunaina Gold\, to generate artistic dialogues on the various artistic forms of gold. \n  \nIn collaboration with the Culturebagh & Yarn Club: \n \nCulturebagh is a platform to encourage cross-disciplinary discourse. It is supported by Chatterjee & Lal\, a Mumbai-based gallery for contemporary art and historical material. \n \nThe Yarn Club is an initiative by Apparao Galleries that curates talks and activities that explore the  rich heritage of the textile traditions of India. It is a platform to share developments and meet other textile enthusiasts while keeping abreast of policy changes and being inspired by the magic of the textiles of India. \n  \nImage Credits- Swati & Sunaina Gold
URL:https://chatterjeeandlal.com/event/textiles-of-banaras/
LOCATION:Zoom\, Online\, India
CATEGORIES:Culturebagh,Presentation,Webinar
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