The Gallery Avanthay is pleased to present the exhibition entitled "New Perspectives of India", five Indian artists whose work provide new perspectives on the young Contemporary art from India. Five artists were selected. Their art works consciously differ in their topics, colors and style.

The artist Barun Chowdhury (*1971, Midnapore) defines himself as a storyteller. All of his works (painting or prints) have a definite story line or narration. Sometimes the story can be recognized directly, sometimes in a little twisted way. His paintings are dealing increasingly with the social political problems in India. Among these is the rising fact of consumerism and the problems of extreme fundamentalism. The work "A mob on rampage..." presented in the exhibition goes with this topic: While the mob of the country is revolting on the streets, and throwing self-made burning bombs, the wealthy bourgeois are sitting placidly on the margin of the canvas and reading newspaper. What they obviously don't know is that they are sitting on round bombs which lighters are already burning at the ends.

A further perspective is gained with the artist Pratul Dash (*1974, Orissa) whose abstracted works manifest surrealistic and photorealistic aspects. Dash is utilizing his art to react critically on the development in his country India, however, he is more lamenting on the full extent of the environmental and social destruction caused through highly increasing urbanization. "I'm concerned about huge deforestation, about the changing landscape and the vertical growth which I see as an individualistic growth".

Viraj Naik: Bully, 2008

Pen, ink, graphite, color pencil, onn Fabiano paper, 61, 3 x 45,5 cm
Courtesy: Gallery Avanthay Contemporary, Zurich

Click on image to enlarge.

The works of the artist Viraj Naik (*1975, Penha de Franc) can be also ascribed to the surrealistic art movement. Viraj Naik designs his drawings with pen, ink, pencil, color pencil and graphite, which are sprinkled with humor, laced with irony and inspired by human and animal legends. He uses hybrid creatures in a mystical world as a vehicle to convey his beliefs, which his images do not disclose directly, but instead, tease the viewer's imagination.

The artist Riaz Samadhan (*1969 in Kolhapur) is articulating the self alienation of man, which is among other things caused by the increased desire of consumption. He focuses on the reasons which lead people to define happiness by possession as well as luxury as a need for living. Birds play a significant role in India. That's why the artist has selected for this work "Birds don't cry, they sing love songs", a crying baby bird caught between two empty shopping bags. They hint the emptiness of shopping culture. On the fluffy coat of the bird, lights are sparkling symbolizing the insensitivity of modern man towards the environment. The bird is representative for the vulnerability and innocence of the environment and our cohabitants.

Viveek Sharma: Under the inverted bowl-II, 2008

Diptych, Oil on canvas, 151, 5 x 243 cm
Courtesy: Gallery Avanthay Contemporary, Zurich

Click on image to enlarge.

Viveek Sharma (*1968, Mumbai) is considered as the painter of metaphors. He is most recognized because of his large-sized photorealistic works in which important figures like Mahatma Gandhi or the Indian Deity Ganesha play a certain role. In the exhibition one of his newest works entitled "Under the inverted bowl 1 to 2" is presented. The painting is showing in the foreground the slum dwellings in Daravi, an unclear labyrinth of linked shanties while in the background the skyline of the Metro-City Mumbai is visible. From the top left of the painting an impressive Wahlberg's eagle is flying into the scene. His sights already set on his prey, a small mouse on a roof of a shanty, which has no way to escape.

Viveek Sharma is relating his work to a verse from the Persian poet Omar Khayyām, who wrote:
"The inverted bowl we call the sky,
Where under we creep, crawl and die,
Look not the heavens for help,
For He is helpless as thee and I."

Will the scenario ever change, is the disparity in question.

Simone Toellner