“DIVINE TEXTURE OF CULTURE” Solo Show of Sculpture by Kiran Shigvan in Jehangir

 Kiran Shigvan had his art education upto G.D. Art (Sculpture & Modelling) at Sahyadri School of Art, Sawarde. Then he showcased his innovative work in many art exhibitions in the leading art galleries at Mumbai like Jehangir Art Gallery, Nehru Centre Art Gallery, Worli, Mumbai etc. He actively participated in the Art Camps at Jaipur in National sculpture workshop and stone caring at Sanjivani University, Kolhapur. He has also given his demonstration at Maharashtra State Art Teachers Federation. He is a proud recipient of many prestigious awards given by reputed art promotional institutions of national reputation like Bombay Art Society, Sahyadri School of Art, Art Society of India etc. His work has been appreciated by the present art fraternity and is in proud collection of several art collectors in India and abroad. 

Artist: Kiran Shigvan

Kiran Shigvan has been obsessed with clay modelling and sculpture work since his childhood. He used to visit the nearby workshops in Kolkata to keenly observe the creation of Ganpati idols and other spiritual statues / idols. Later on he took interest in artistic use of other materials like Bronze, Stone, FRP and mix medium etc to aesthetically adorn his work with the desired textures of Divine Culture and their peculiarities.

The present series incorporates his creative and innovative sculpture on bulls, horses, spiritual icons, idols etc in Bronze & FRP. The special features of his work are the superb finesse and textural finish for the creative endeavors in his unique creative style. They transcend form and materials in addition to very essence of human experience. Using both traditional techniques and contemporary sensibilities he has created these sculptures which duly explore the delicate balance between nature, culture and identity in apt perspectives. These innovative works are not only captivating, eye catching and lucid but also eloquent and creative in their own way. These in turn, share a dialogue with the viewers and onlookers leading to their warm response and due appreciations. His thoughtful and superb innovations soon leave their indelible impact on all leading to their applauds and positive response.

Recent sculptures made by a well-known sculptor, Kiran Shigvan will be showcased in a solo art exhibition at Jehangir Art Gallery, M.G. Road, Kala Ghoda, Mumbai 400 001 from 25^th to 31^st March 2025 between 11am to 7pm.

It will illustrate the subtle nuances of the Divine Texture of Culture in his recent Innovative sculptures made using bronze and FRP.

This exhibition will be inaugurated on 25^th March 2025 at 5.30pm 

by Hon. Prof. Prakash Arjun Rajeshirke, Chairman Sahyadri School of Art, Sawarde.

 From: 25^th to 31^st March 2025

“DIVINE TEXTURE OF CULTURE”

An Exhibition of Sculptures

By well-known sculptor Kiran Shigvan

 

VENUE:

Jehangir Art Gallery

161-B, M.G. Road

Kala Ghoda, Mumbai – 400001

Timing: 11am to 7pm

Contact: +91 9167907095 / +91 7710868631

 

Artist: Santosh More Dates: 1st April – 7th April Venue: Jehangir Art Gallery, Mumbai

Exhibition Details:

Title: Echoes of Metaphor

Artist: Santosh More

Dates: 1st April – 7th April

Venue: Jehangir Art Gallery, Mumbai

Timing: 11am to 7pm

Contact: +91 9920192011

www.artistsantoshmore.com     

 

Santosh More’s Solo Exhibition Echoes of Metaphor at Jehangir Art Gallery, Mumbai

Mumbai, India – Celebrated contemporary artist Santosh More is poised to unveil his latest solo exhibition, Echoes of Metaphor, at the esteemed Jehangir Art Gallery from 1st April to 7th April. This evocative showcase delves into the fluidity of visual consciousness, where fleeting memories, ethereal harmonies, and the profound vastness of nature coalesce, offering an immersive exploration of abstraction and introspection.

Artist: Santosh More

More’s artistic lexicon is deeply interwoven with his early captivation by the natural world and the cultural vibrancy of his homeland. His compositions manifest as dynamic, formless entities—an interplay of imperceptible forces that converge, dissolve, and reconstitute in silent dialogue. These amorphous structures, shifting and intermingling, resonate with an almost meditative cadence, giving birth to a visual language that transcends the constraints of representation.

In Echoes of Metaphor, More’s work resists definitive interpretation, instead beckoning viewers into an open-ended engagement with ambiguity. His paintings do not dictate meaning but rather invite contemplation, allowing each observer to unearth personal resonances within the interplay of form and space. The exhibition embodies an aesthetic philosophy of surrender and rediscovery—an odyssey into the liminal realms between the tangible and the intangible, between the seen and the unspoken.

With a career spanning over three decades, Santosh More has firmly established himself as a significant voice in contemporary abstraction. A BFA graduate from Mumbai University, his practice is distinguished by its seamless fusion of abstract expression and nuanced metaphorical depth. His works have been exhibited at some of the country’s most prestigious institutions, including Jehangir Art Gallery, CIMA Gallery, Gallery Art & Soul, Gallery Articulate, Gallery Guild, and the Bombay Art Society, earning him wide acclaim and numerous accolades.

The launching ceremony for the book - How to become a Disciplined artist written by artist Santosh More is scheduled to be held on 1st April 2025 at 5.30 pm

Exhibition Details:

• Title: Echoes of Metaphor
• Artist: Santosh More
• Dates: 1st April – 7th April
• Venue: Jehangir Art Gallery, Mumbai

Timing: 11am to 7pm

Contact: +91 9920192011

www.artistsantoshmore.com     

 

What Remains Not + Incomplete Truth Solo Show by: GANESH TARTARE

The duality in the title invites introspection. Knowledge, recognition, and memories highlight the artist’s questions about his relationships. In the process of seeking what has been lost or trying to comprehend the incomplete truths, we are reminded of the need to understand. Yet, the inherent incompleteness of self compels us to ask if it is ever possible to achieve a complete understanding, or if we are stuck in the gap between absence and truth.

Artist: Ganesh Tartare 

This concept is frequently explored in philosophy, literature, and art. However, in the changed global context after World War II, this concept has led to significant transformations in literature and art. Deep emotional consequences have led to new turns in visual art, where questions of morality and the meaning of existence emerge. Artists primarily used the freedom of expression for self-created research. It seems the world flows through these parallel threads. In art, the act and medium of expression became liberated to reflect emotional existence, and the impact of this change on creation has been permanent. In literature, the struggle with incomplete truth is a major theme, where characters seek meaning in the absence of clarity. In such works, the search for truth is not just about uncovering a final truth but understanding the limitations of human experience and the space between fragments. Many artists and writers have shed light on the incompleteness of human existence and the limits of knowledge through their works. The poetry of grace, for instance, reflects on the complexity of existence and the limits of knowledge. Their concepts invite us to embrace humility, wonder, and the mystery of existence. 

Dr. Ganesh Tartare’s charcoal works represent “What Remains Not” — a space created by the absence of experiences, the loss of possibilities, and the fragmentation of memories. They are the remnants of what could have been. The powdery charcoal shapes are like the imaginary scent of a forgotten summer, reflecting the transient nature of existence. The unsaid words linger, wandering in the quiet corners of consciousness. The realization that much of our life and potential remains forever unexpressed creates a vast, silent ocean of ‘no,’ represented by the charcoal lines and the shapes they form. These are mirrors of the fragmented reality of incomplete truth. They have emerged through the filter of our prejudices and the limitations of understanding ourselves. 

The artist’s action in the painting—filling shapes, drawing lines, erasing, and rubbing them again— creates edges and forms that are the golden borders of abstraction in his work, representing the postmodern abstract style. Each painting, each line, and each shape is a deliberate choice of facts, which bury references, details, and deeper meanings beneath the small surface of the painting, as if weare caught in a cycle of half-truths and subjective definitions. Ganesh Tartare is an artist motivated by the desire to capture the essence of his experience. Each shape, each line, and every faint or blank surface is a transformation of infinity into limitation. He attempts to fill the void of “What Remains Not” with fragments of “Incomplete Truth,” knowing that his creation is merely a shadow of the reality they wish to represent. 

 Smita Nilesh 

 Artist, Educator

What Remains Not + Incomplete Truth

काय उरत नाही + अपूर्ण सत्य…

Ganesh Tartare

Solo show

Curated by Nilesh Kinkale

Nippon

18th March

7:30 pm onwards

Exhibition continues

till 24th March 2025

Daily: 3 pm to 7pm

Solo show Ganesh Tartare - What Remains Not + Incomplete Truth काय उरत नाही + अपूर्ण सत्य - -स्मिता निलेश

शिर्षकातील द्वैतता आत्मचिंतनाला आमंत्रित करते. ज्ञान ओळख आणि आठवणींशी चित्रकाराला त्याच्या संबंधांवरील प्रश्नांना अधोरेखित करते. चित्रकार जे गहाळ झाले आहे ते शोधण्यात किंवा अपूर्ण सत्यांना समजून घेत असताना आपल्याला समजण्याची आवश्यकता असते. तरीही स्वताचा असलेला अपूर्णतचा स्वभाव आपल्याला प्रश्न विचारायला लावतात की, कधीही पूर्ण समज मिळविणे शक्य आहे का, किंवा आपण अनुपस्थिती आणि सत्य यामधील त्या अंतरातच अडकलेले आहोत का? हि संकल्प‌ना तत्वज्ञान, साहित्य आणि कला यामध्ये वारंवार अन्वेषित केली जाते. परंतु दुसऱ्या जागतिक महायुद्धानंतर बदलेल्या जागातिक पटलात या संकल्पनेने साहित्य आणि कलेत अनेक महत्त्वाची यात परिवर्तने घडवून आणली. 

Artist: Genesh Tartare

गहन आणि व्यापक भावनिक परिणामांनी चित्रकलेत नविन वळणे तयार झाली चित्रांमधून नैतिकता आणि अस्तित्वाच्या अर्थाचे प्रश्न निर्माण केले. चित्रकारांनी अभिव्यक्ती स्वातंत्र्याचा उपयोग स्वनिर्मित संशोधनासाठी प्रामुख्याने केला. अशाच समांतर धाग्यांनी जग प्रवाहित झालेले दिसते. भावनिक आस्तित्व प्रतिबिंबित करण्यासाठी कृती आणि माध्यम ही स्वच्छंदी झाली या बदलाचा परिणाम निर्मितीवर कायमचा झाला चित्र साहित्यामध्ये अपूर्ण सत्याशी संघर्ष हा एक महत्वाचा विषय असतो ज्यात पात्रे अस्पष्टतेच्या अभावात अर्थ शोधतात अशा कार्यामध्ये सत्य शोधणे हे केवळ एक अंतिम सत्य उलगडण्याबद्दल नसून मानव अनुभवांच्या मर्यादा आणि तुकड्या मधील अंतर समजून घेण्याबद्दल असतं. अनेक कलाकारांनी आणि साहित्यीकांनी त्यांच्या कलाकृतीमधून मानवी अस्तित्वाच्या अपूर्णतेवर अणि ज्ञानाच्या मर्यादेवर प्रकाश टाकला आहे. कवी ग्रेस यांच्या कवितांमधून अस्तित्वाच्या जटिलतेवर आणि ज्ञानाच्या मर्यादेवर संदर्भित दिसतात. त्यांच्या संकल्पना आपल्याला नम्रता, आश्चर्य आणि अस्तित्वाच्या गूढतेचा स्विकार करायला लावतात. 

डॉ गणेश तरतरे यांच्या चारकोल माध्यमातील चित्रे/चित्रात "जे शिल्लक नाही" हे अनुपस्थितीचे प्रतिनिधित्व आहे, अदृश्य झालेल्या अनुभवांमुळे, हरवलेल्या संभाव्यतेमुळे आणि स्मृतीच्या विघटनामुळे तयार झालेली नकारात्मक जागा आहे. जे होऊ शकले असते यांचे भूतकालीन अवयव आहेत. चारकोलच्या पावडरने घासून तयार केलेला आकारात विसरलेल्या उन्हाळ्याचा काल्पनिक सुगंध आहे,  तसेच तो आकार आस्तित्वाच्या क्षणभंगुरतेच्या स्वभावाचेही अस्तित्व दर्शवितो. न बोललेले शब्द अहेत जे त्यांच्या चेतनेच्या शांत कोपऱ्यात फिरत असतात. आपल्या जीवनाचा आपल्या संभाव्यतेचा मोठा भाग कायमस्वरूपी अप्रकट आहे याची जाणीव आणि 'नाही' चा एक विशाल शांत महासागर आहे त्यावरील चारकोलच्या रेषा आणि त्यांनी तयार झालेले आकार हे अपूर्ण सत्याच्या वास्तवाचे तुकड्या तुकड्यांत असलेले आरसे आहेत. जे आपल्या अनुभवाच्या पुर्वग्रहांतून आणि स्वताच्या स्वभावाच्या समजूतदारपणाच्या मर्यादामधून गाळून प्रकट झाल्या आहेत.

 चित्रातील त्यांची कृती म्हणजे भरीव आकार भरणे त्यांवर रेषा काढणे आणि त्या पुन्हा पुन्हा खोडणे, घासणे या मुळे जे आकार व ज्या कडा तयार होतात त्या त्यांच्या चित्र निर्मितीतील अमुर्ततेची सोनेरी किनार आहे जी उत्तर आधुनिक अमुर्त चित्र प्रकारचे प्रतिनिधीत्व करताना दिसते. प्रत्येक चित्र प्रत्येक रेषा आकार हे तथ्यांची काळजी पूर्वक केलेली निवड आहेत ज्यामुळे संदर्भ, बारकावे, मोठे माग हे चित्राच्या छोटया- पृष्ठभागाखाली गाडले जातात जणू अर्ध सत्य आणि व्याक्तिनिष्ठ व्याख्यांच्या चक्रव्यूहात फिरत आहोत. गणेश तरतरे हे त्यांच्या अनुभवाचे सार पकडण्याचा इच्छेने प्रेरित झालेले चित्रकार आहेत प्रत्येक आकार प्रत्येक रेषा आणि पुसट पृष्ठभाग व कोरा पृष्ठभाग हा अनंततेचे मर्यादिततेत रूपांतर आहे, ते "जे शिल्लक नाही" ची पोकळी "अपूर्ण सत्या" च्या तुकड्यानी भरण्याचा प्रयत्न करतात हे जाणून की त्यांची निर्मिती ते प्रतिनिधीत्व करू इच्छित असलेल्या वास्तवाची केवळ एक छाया आहे. 

-स्मिता निलेश

What Remains Not + Incomplete Truth

काय उरत नाही + अपूर्ण सत्य…

Ganesh Tartare

Solo show

Curated by Nilesh Kinkale

Nippon Preview

18th March

7:30 pm onwards

Exhibition continues

till 24th March 2025

Daily: 3 pm to 7pm

----------------------------

Artist: @ganesh_tartare Curator: @nileshkinkale Text: @smitakinkale

Craft, Migration and the Weight of Memory

Craft, Migration and the Weight of Memory Design, Crafts, Meritocracy, Experiential design, Archival materiality, memory In the narrow lanes of old markets, among the fading signboards and the old shutters half-covered with layers of political posters, stories are embedded in objects. They are woven into textiles, etched on the stones, and molded into fluffy breads. 

 Pratishtha Mishra

Crafts are not just artifacts but archives of movement, adaptation, and survival. What we call crafts today have historically been utilitarian products for local consumption. Migration, whether forced, voluntary, or cyclical, has shaped how materials are chosen or stories are carried forward. Yet, in a world that increasingly values speed and scalability, these traditions often go unnoticed, their practitioners left to navigate an economy that does not account for memory. 

Movements have participated in defining crafts. The migration of Persian artisans to India brought the intricate techniques of Bidriware, which evolved uniquely in the Deccan, while the Mughal patronage of stone marble inlay work saw artisans reinterpreting Persian aesthetics within Indian architectural traditions. These journeys, whether due to royal commissions, trade, or displacement, shaped the material artisans chose, the patterns they imprinted, and the hybrid techniques that emerged. Archival materiality makes it evident here that crafts are not just products but living documents, preserving histories that might otherwise be erased. 

Craft, in many ways, is an act of rebellion against loss and against forgetting. Objects made with human hands hold an emotional and cultural residue that factory-produced goods cannot replicate. But whose work is considered worthy of preservation? Meritocracy in the crafts sector becomes evident here. Recognition is often dictated by access to who gets institutional validation, whose work is archived, and whose skills remain on the margins of artistic recognition. Street-side sign painters, vernacular typography artists, and roadside pot makers rarely enter curated museum spaces, even though their work tells stories of deep-rooted cultural shifts. 

Today, artisans must navigate shifting landscapes with material scarcity and urban gentrification. Formal economies prioritise visibility over authenticity, while the informal economy thrives on resourcefulness and frugality, often overlooked in conventional artistic merit. For those working within the informal economy, JUGAAD, bricolage, and frugal innovation are not just creative strategies but essential tools for survival. Though they lack formal education, artisans create solutions that are deeply rooted in the context of their culture and environment, yet these solutions remain invisible in contemporary creative 

dialogues. At the same time, some crafts are adapting and being reinterpreted into digital media and modern aesthetics to meet the needs of the market. But adaptation comes at a cost: what is lost when a craft is forced to conform to commercial viability? 

Crafts remain a testament to identity and survival but are also fragile, like other tacit knowledge-based practices. If value is dictated by institutional recognition and an expectation to fit in neatly in the categorised art world narratives, where does it leave these invisible practitioners? 

As artists, researchers, and curators, the challenge is not just preservation but rethinking merit, visibility, and access. Perhaps the answer lies in expanding archives beyond institutions, in creating new storytelling methods that allow these crafts to breathe and shift 

on their terms. The question remains: who gets remembered, and who gets left behind? 

6th March / Mishra P. 

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Saju Kunhan's presented series titled ‘11th May 1980 Wedding Day’

 

Saju Kunhan's presented series titled ‘11th May 1980 Wedding Day’ delves specifically into familial archives and ancestral histories. They feature black and white family photographs taken from a wedding album, the frozen stillness of which is animated by adding a layer of painted colour which in the artist’s words is to “try to add some colour to their existence.”

Please click here to read more and explore images of the works. 

We look forward to seeing you there! Please reach out to us if there are any questions or additional requests.

Regards,

Hena Kapadia

Gallery Director

w: www.tarq.in

a: KK Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001

o: +91 22 6615 0424 | +91 22 66150069

m: +91 9821332108

e: hena@tarq.in

… Interpretation of Dreams

Nilesh Shilkar’s artistic mission has been no less ambitious than an attempt to represent the structures of knowledge and belief that we use to understand and visualize it. Shilkar’s works are continually expanding and evolving and stems from his imagination, and is catalogued in a conceptual chart replete with allusions drawn from occult practices, traditions, and scientific elements and principles. The works delineate the universe’s formation as well as the attempts and limits of human consciousness to comprehend its vastness. His work deals explicitly with the idea of information being on the surface and information the subject of his work. Shilkar creates works on canvas, texturing it for three-dimensionality which ties the sprawling works together into a narrative structure. Offering a fresh perspective on the fusion of cultures, practices, and aesthetics, Shilkar’s key to understanding his work, draws attention to forms of culture on the fringes of the mainstream and reveals hidden personal histories within the context of what he himself has experienced. He was brought up in Shil near Ratnagiri, where he still lives. 

Shilkar's talent lies in examining his surroundings in an almost anthropological fashion. Many of his installations reflect how communities in Mumbai have appropriated elements of mainstream culture and mimicked, altered, and even parodied it to make it their own. For "Projekt Thibaw," an exhibition on view at the Thibaw Palace, Shilkar pasted a large world map and inserted with a large trowel at the centre. The piece is now part of Thebaw collection; but the earlier projects, such as Mumbai Shanghai, and Complimentary Dish, make clear the link between Shikar's incisive analyses of contemporary culture and conceptual political art more generally, often resulting in humorous and insightful observations on the hierarchies of art and life.

This impression is due to the stratification of compositional levels: layers of large and regular chromatic planes studded by small drawings and by digressions in calligraphic style are overlaid with miniature figurative openings and sinuous abstract drawings are added. The accumulation of overlapping layers, colors, and images uniformly covers the surface, becoming indifferent to the boundary with the pictorial stratification conferring depth to the paper, the various elements that make up the work appear to occupy a volumetric space, while the images and colors seems to be the result expressed in three-dimensions. The pictorial density, in which the figurative elements are interwoven and mingle, and sometimes are superimposed upon others, is thus revealed as an expression of the artist's cultural condition. 

The initial impression of a chaotic and uniform density is substituted by a curiosity that leads the viewer to the exploration of three-dimensionality as a visual translation of memory and time. A three-dimensionality in which the stratification corresponds to the intersecting or the melting in one's mind of memories more or less recent, to the battle between the urgency of the present and the evocative force of the past. Elbowing for space on paper are pictorial styles and visual data mediated by tradition, as one can make out in the tiny landscapes that invade at several points, iconography or personal memories seen with the eye of the artist's original culture. The compositional hierarchy: the figuration uniformly supports, and the material has evidently undergone a strong selection by the artist, allowing some elements to take precedence. For this reason, the works appear as a more evolved emotional form where memory, no longer obsessive, seems to be driven into a structure and a defined meaning

In his painting there is no insistence on reinventing time, nor is there an attempt to make the past present, for past and present are shown completely. Memories shift among nostalgic motivations; they are mirrors of ourselves that envelop us like whirlwinds. Nilesh Shilkar has the ability to show coherence and freshness in painting based on the symbolic elements of a historical reality. Freeing himself of the imposing and limiting sense of a mere transposition of images and symbols, he realizes a subversion of the imagination stemming from the inheritance manifested in the implicit power relations. Subversion often begins through references that extend inside or outside the space of the canvas. The artist gives a new dimension to painting as he approaches or distances himself from the two-dimensional plane the images decompose into a dissociating effect that transforms the pictorial matter into intoxicating condensations, into contractions, and into impulses. The artist offers us a rich game of semantic suggestions where the course of history is no longer delineated as before. The autonomy of the symbol engenders a reality gathered from the material itself. He thus procures to rescue memory, not as the actualization of the past, but rather as its prolongation into the present, for the present depends on the past in order to manifest itself. Nilesh Shilkar's work is a release transposed with rare mastery for the world of painting. Through a powerful and free transfiguration, he evokes testimonies of memories and of the present, made of matter and rebellion, dream and reality.

 

Abhijeet Gondkar

February 2025

Nilesh Shilkar

Solo show

Curated by Abhijeet Gondkar @abhijeet.gondkar

Preview: 25th February, 5.30 pm onwards

Exhibition continues till 1st March 2025.

Daily between 3 pm and 7pm

Gallery Nippon 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai - 400 001

Open on Public Holidays, Appointment only

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