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D-53 Defence Colony, New Delhi 110024T +91 11 46103550/46103551 | E art@vadehraart.com | W www.vadehraart.com

Jayashree ChakravartyIf you will stay close to nature…

28 February - 5 April, 2014

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After a considerable spell, Jayashree Chakravarty produces a body of work that appears to compress time and memory into a map-like evocation.

Viewed vertically, the large format paintings appear like an invitation for immersion, a scene that does not lie ahead as an unfoldment through time and space, but one that you can enter.

Most of her forms appear like aquatic life, the white froth of water settling lightly as the blue water breaks through, and thick tree forms across the frame rise to the surface, like a dense and matted invitation.

Here and there what rises from the waters is a cartography, the map of India, the original Jambudwip or island nation perhaps, born of the waters in a cosmic churning, its surface still covered with wet inky droplets and pools of water.

Chakravarty’s vision appears particularly personal, bound by the exegesis of her own experience. In the 1980s her family moved to the large marsh like area of Salt Lake, then teeming and resplendent with a massive water body, populous with birds, foxes, butterflies. At that time Salt Lake or Bidhannagar was being developed on the outskirts of the city of Calcutta as the suburbia of promise, an alternative to Calcutta’s urban decrepitude, a slow grinding process of change spread over four decades. The child-like memory of the massive lake resonated with her recall of Tripura, where her father, a government health official travelled to tribal and jungle areas. As a young girl on these trips Chakravarty’s overwhelming sense was of dense packed forests, tribal settlements, the piercing blue skies, an overwhelming immersion of the senses in nature.

Now, decades later, Chakravarty simulates a similar kind of submerging of the senses in a world that slips and settles into view. The process brings within it the pleasure of recall but also the sombre notations of the present. The fecund aqeous surrounding and the ecstasy of childhood must make way for the congestive urbanism of our time as the once famed fishing lake transforms into a built up conglomerate of residential colonies, academic and commercial institutions. Like the heavy structures of concrete, thick blobs of white paint fall upon the surface of her painted water bodies, seeming to choke and petrify the teeming life beneath. Through the tactile suggestions of wet foliage one discerns the tangled remains of an uprooted tree, wet and

In the very face of the timeAcrylic & oil on canvas, 70” x 52”, 2013

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heavy in the wasteland, as it appears to float to the surface. The depredations of large cranes and grinding machines render nature like detritus.

All artists, with the acute self consciousness of our times, locate their work in a temperament. It would be safe to say that even as Chakravarty chooses the forms of water, with its emotional conditions of turbulence and a shimmering instability, her temper is one of solitude. The sadness of solitude and its fatalism but also its resilience.

For this one may look at the solitary bird that appears on her canvas. Rilke, a poet who the artist admires, and whom she quotes directly on her painting, writes in his Letters to a Young Poet, “What is necessary after all is only this: solitude, vast inner solitude. To walk inside yourself and meet no one for hours – that is what you must be able to attain…..…..what is happening on your innermost self is worth of your entire love ….” (Letter 6)

It is for this that we turn to Chakravarty’s forms and their trajectory of a vast chaos and a curious stillness.

A swirling circular motion that seems to blow through each work creates a sense of restlessness: swirls of wind and water, never allow the edges of the painting to settle, creating a vertigo induced nature, teetering on the edge of chaos. And yet tempering the mounting storm is the bird, so large that it appears like a disproportionate residue of another age. Still and silent, it stands as witness and visitant, foraging or pecking at the ground in the storm, unmoved by its chaos. In its singular presence it could be the sum of natural life, ordinary and unchanging. Or else we are struck with its conspicuous size, the product of a child’s gaze perhaps, of the bird as the sole survivor of a storm.

A smaller subset of cartographic images push these works out of the domain of the personal into a mythological geography. Through the 19th century, the British mapping of India created a vast storehouse of maps that offer a site for response, a possibility to read and inscribe the nation. Chakravarty’s explorations are more gentle. The water drenched map of India inscribed as a colonial map with a single koel, may also recall Jambudwip, the Puranic geography of India, envisaged as emerging from the waters. Across its surface we can read the blue strands of rivers and the land beneath, still appearing to view, like a primitive calligraphy. For a parched India whose water wars

are already anticipated, the artist overwrites the map of India with rivulets, streams and small pools of water water: this is a gift and also a retribution. What she creates in the process is an amalgam of cartography and a personal geography – of rivers in spate that spill, and denude. Or perhaps it is moment of submergence, the first signs of a flood that will obliterate?

An even more provocative idea is offered in the image of the split globe, one of the more imaginative tools in the hands of the cartographer. Splitting through the middle, vertically or horizontally, or opening out like an envelope, the split globe loses volume to become a graphic of immense potential. In the work titled In the very face of time two halves of a globe emerge, through which a human face appears as a witness to time. Instead of the dual hemisphere, the face looms to intervene, looking back at the viewer, creating in a sense a dialogue through the prism of the global.

Together Chakravarty’s map-like forms, possessed by swirling aqueous forms, apper like a large galactic churning; ether has been replaced by water, and we are witness to the earth as a globe emerging from the primordial waters.

One may approach Jayashree Chakravarty’s exhibition as a series of propositions: that what appears like nature’s forms and its attributes is really a conscious experience. That the evocations of nature that guide this work are suggestive of nature’s evacuation, a form of death. And that hallucinations, dreams and schematic drawings each have their own truth in artistic experience.

Or perhaps we may see this body of work as a kind of rebellion. Chakravarty does not appear to draw a co-relative between nature and beauty: nature is a memory bank, recalling here Hegel’s view of nature in art as “essentially a question”. One may then see nature in her work as an aesthetic phenomenon that is gradually bled of colour, infected by the white and grey tones. The froth on the surface seems to harden and coalesce into form. Here and there, the aquamarine blue that comes through – so reminiscent in different ways of Ramkinkar Baij and Arpita Singh – seems to be sliced and carved under the weight of white, the residue of concrete.

Seen as a whole, as the eye travels between and across the works, there is a sharp shift of perspective, from the child-like magnification of the life of the pond and its busy occupants to the distant view of the town seemingly

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emerging from the vast reservoirs of the lake, building in through increasingly dense and congested layers.

One may of course see this as a catalogue of change, the notations of a diaryist on the look out from her window, to the grinding noisy change of rising urban structures. Like others of her generation, Chakravarty may interrogate the promise of progress and modernity but because Chakravarty does not take an ethical position, because the works do not expressly speak of the sentiment of loss, one may in fact see them as the two tiers of intimacy and distance.

Allen Carlson in the essay Environmental Aesthetics1 says “Environmental aesthetics is the aesthetics of the everyday”. Chakravarty’s view of nature – nature of the environment, but also the nature of the desiring state – must mark the passage of personal time. Playing through the language of absences and presences, distance and nearness, there is a palpable melancholy, one that serves as an aesthetic emotion. When our conversation about the lake is nearly over, she says quite unexpectedly, “From 2010, I am with Ma, with her ailing aging body. I can’t go out – small new buds become important for me.”

Chakravarty’s melancholy is one that even in its longing is reflective and productive. In this context her large sculptural floor work Cocoon has an interesting resonance. Made of fabric sandwiched between tissue and Nepali paper, its organic surface teems with hundreds of small forms, insects which have perhaps escaped the cycles of submerging and flooding. Sheltered within the nearly life-size cocoon, they create an insistent sense of the promise of new life.

Or else a final submerging, the beginning of a pralay is at hand.

Gayatri Sinha

1 ed. by Gaut, Berys Nigel, Dominic Lopes, The Routledge Companion to Aesthetics, New York: Routledge, 2000, 2005, 2013, pp. 552

UntitledAcrylic and oil on canvas, 71” x 71”, 2010

(Pg 8-9) Local HabitatAcrylic and oil on canvas, 51” x 79”, 2013

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DuckAcrylic and oil on canvas, 35” x 36”, 2012

FernAcrylic and oil on canvas, 36” x 36”, 2012

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BirdsAcrylic and oil on canvas, 35” x 36”, 2012

CraneAcrylic and oil on canvas, 35” x 36”, 2013

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KoelAcrylic and Oil on canvas, 35” x 36”, 2013

MapAcrylic and oil on canvas, 36” x 35”, 2011

(pg 16-17) Moods of WaterAcrylic and oil on canvas, 51” x 79”, 2013

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SiddhasanaAcrylic and oil on canvas, 44” x 50”, 2013

Pathar KuchiAcrylic and oil on canvas, 44” x 50”, 2013

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Aquatic PlantsAcrylic and oil on canvas, 44” x 50”, 2013

RootsAcrylic and oil on canvas, 45” x 48”, 2013

(Pg 22-23) Face to FaceAcrylic and oil on canvas, 52” x 70”, 2013

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UntitledAcrylic and oil on canvas, 36” x 35”, 2010

WeedsAcrylic and oil on canvas, 70” x 66”, 2012

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UntitledAcrylic and oil on canvas, 36” x 35”, 2010

(Pg 28-29) Shallow WaterAcrylic and oil on canvas, 52” x 70”, 2012

UntitledAcrylic and oil on canvas, 36” x 35”, 2010

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Where is Nature in the urban nature?Avijna Bhattacharya

Jayashree Chakravarty has always been very mindful while observing and noting down tiny changes in the ‘world’ around her, on the canvas. Her technique of building up layers through oil and acrylic paints on a thoroughly prepared ground is tried and true; one that has helped her to retain proliferated meanings through both individual and constellated images and create complete harmony with her layered thoughts, memories and illations. Excavating and inquiring such layers of memories, culture constructs and belief systems that comprise the artistic knowledge and image archives could help an observer to understand the art works better. This is a similar effort in re-presenting a dialogue that happened between the artist and the observer…

Dialogue with the artist at her studio in Salt Lake

Jayashree Chakravarty; The pace of change in the environment around the place where I live, i.e. Salt Lake is abysmal. I have been coming upon and noting these changes for the past three decades.

Avijna Bhattacharya; your observations surface on your canvases quite intelligibly.

JC: Thirty years back this place was mostly marshland with a handful of residential houses. Now you can hardly find any empty space between the structures.

AC: Can you recall all the phases of change? JC: Yes, mostly. There were so many different kinds of birds that would frequent the water bodies and I can imagine the aquatic creatures living in this very location where our houses are built. Those obviously will never be seen again. There used to be a lot of wind here, summers were never that hot, there were hardly any houses in the vicinity and then we had to look for a neighborhood across the horizon. Things have changed, I guess only change is constant, nothing else is.

On 24 June 1907, while working in Paris as secretary to Rodin, Rainer Maria Rilke wrote to his wife, Clara: “After all, works of art are always the result of one’s having been in danger, of having gone through an experience all the way to the end, to where no one can go any further. The further one goes, the more private, the more personal, the more singular an experience becomes and the thing one is making is, finally, the necessary, irrepressible, and, as nearly as possible, definitive utterance of this singularity...”

While talking to Jayashree about her artworks the aforesaid words kept haunting me because her images constantly suggest the diminishing existence or extinction of entities, ideas and sensibilities. They raise an alarm on lurking dangers in the sense that Rilke has mentioned in his letter in poetically suggestive obscurity, that brings one closest to the idea of sublime – an abstract feeling, a state of astonishment, perhaps the strongest emotion that human mind can experience.

A thought on the ‘sublime’ in the context of urban development, nature and painterly practice.

There is this ceaseless anxiety that appears through Jayashree’s thoughts and images, about the idea that one exists at the efflux of another. Here, ‘one’ is predominately a personification of contemporary culture in terms of urban development which is growing at the expense of the preexisting conditions/nature, which sooner or later consequentially may strike back with all its greatness. Her works try to address this anxiety generated from being latently periled, stimulating extreme emotions, which the current urban existences occasionally derive catharsis from.

Much like what Luke White writes in his essay, while addressing the relation between art and the sublime, that, “a key aspect of the recent resurgence of the sublime as a subject for study has undoubtedly been its relevance as an aesthetic of terrible nature, at a moment when, with growing fears about environmental catastrophe, nature has reappeared as a limit to human power, progress and wealth, something which even threatens to destroy us”.1

Nature as Wilderness and the problems around its current urban understanding

Wetlands from the eastern fringe of the city started disappearing right from the 80s, and now after rapid urbanisation, the memories of aquatic plants, fish and animals lie buried under high-rises. The kind of artistic practice that Jayashree is keen on, narrates accounts of disappearance. It does not aim to shock the audience; instead it gradually unfolds her belief system to them, an effective method to lead the latter to experience the intangibility of the ‘ocular’, and the disquiet that absence of corporeality can cast over human mind. Her paintings are orchestrated by layers of images, one beneath another, all of them distinct and transparent, capable of raising curiosity about their origins, structural nuances and temporal property.

AC: Normally how long does it take you to complete a work?

JC: Quite long sometimes, I can’t help but keep painting, sometimes even after it gets over…

1 Damien Hirst’s Shark: Nature, Capitalism and the Sublime, The Art of the Sublime; Luke White; http://www.tate.org.uk/art/research-publications/the-sublime/luke-white

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AC: When do you realise that it is time to stop?

JC: Sometimes it is difficult to determine when a work is over and at others it happens very organically, like a magical occurrence.

The paintings that were displayed inside her studio were created between 2011 and 2013, mostly 35 x 36 inches in dimension, with few exceptions, and rendered in acrylic and oil on canvas. The work titled Birds began around 2011, her basic thoughts generated from observing the diminishing water bodies, the Aila (about recent cyclonic devastations in south Bengal caused by the cyclone Aila) and the consequent natural destructions, uprooted trees, with the roots creating network like patterns over the ground impersonating maps and their liner aspects. “Whatever I can see locally induces me to work, like the way a tree gets uprooted. Also the process of germination attracts me, the way life sprouts out of a seed. I use blue in most of the canvases, the color helps in creating or demarcating space”, says Jayashree. According to the artist, line, tone, and forms together can create sound.

JC: Overlapping thoughts and observations help me represent the truth around me within nature, seeing and balancing; both of these are very important. Balance is needed while painting and seeing is important while being aware about the nature around.

JC: When we first came here we could feel the ground beneath was mud or sand, which was later used to fill up the water bodies. The diminishing space and the water as well as the plants and animals residing in it made me think and work with such a subject.

And therefore it came to her realisation that the ground she was standing on was actually a mausoleum of aquatic beings and lives. In the painting Birds there are two images of birds one in the foreground overlapping another in the background. This story is resonated more or less in all the works. Mud like round patches thrown after an apparent completion of the paintings.

Koel, is one painting with the image of the Indian map and a black Koel bird in the foreground. The map in the background is conjectured and injects certain patterns of historicism to the content, like this map of India physically denotes the entire subcontinent, instead of confining to the existing politically acknowledged boundaries. Fern, on the other hand, is a painting with the image of the Indian map and fern leaves in copper color and blobs of white paint across the surface

or across the map, which according to the artist are signifiers of debris/mud used to fill up water bodies and invade lands for expansion of civilization. Maps have always intrigued Jayashree, so she has painted a work of the same name. The work titled Map, depicts the Indian map but in an artistically designed contour which may not resemble the geo-politically acknowledged version of the same. The work named Duck is again a labyrinth of textures, images and lines, with blues, greens and black and white dominating the pictorial space; these are colors that direct our imaginations when the idea of both nature and catastrophe surfaces in our subconscious. Crane, is a serene work, and like the rest from this assemblage, shows a blue bird in the foreground. The crane moves in a rhythm while treading through the wetlands searching for food, a sight that only exists in the artist’s memory and is reliably reproduced on the canvas, with melancholic blues, dark roots of an inverted tree netted all over the ground of a peninsula with lots of line just like that of maps of the place, roads, geographical features and occasional blotches of silver or white paint representing developmental deterrence.

JC: In this painting with an inverted tree and the peninsula I have painted maps, they come back again and again because the flora and fauna that exist on this land mass are very much present in my daily existence and I find it intriguing. I think all these elements are moving away from us because we are taking up their space, the total displacement of some species are haunting, whereas others are pitifully making their way through the concrete forests.

Utterly faithful to her thoughts, Jayashree accomplishes paintings like Patharkuchi and Roots. The nature of the Patharkuchi plant is to grow from the leaves, from within layers of hard rocks. “An entirely rocky space is otherwise a resistant and obstructive environment but the vital force of green and life will make its way through the narrowest of possibilities”, says Jayashree. This one is a slightly bigger painting (44 x 50 inches) that depicts layers of rugged landscape touching the horizon. Whereas Roots, is a painting made in brown, green and grey, with sporadically placed island-like forms, also resembling potatoes (observes Jayashree) which are roots and considered utilitarian by humans. The mirror image of a network of the ground beneath, surfacing above, reminds of the same catastrophe that nature may pose as a limitation to urban developments.

Siddhasana, the accomplished posture traditionally used for dhyana (meditation) and pranayama (breathing), is a work dominated by a green palate with a seated figure radiating green energy, the same being absorbed and then transmitted out.The man in meditative posture is an idiom for the center of emission of ultimate consciousness. The work called Aquatic plants in greys, carries the quotation from

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Rainer Maria Rilke’s collection of ten letters, Letters to A Young Poet. The quote holds the fundamental philosophy of Jayashree’s body of work. It reads, “If you will stay close to nature, to its simplicity, to the small things hardly noticeable, those things can unexpectedly become great and immeasurable”. She trusts Rilke to name her works. One, who is familiar with the works, will know that nothing could describe them better.

In the very face of time is a painting with two hemispheres with turbulent ocean currents and a face gradually surfacing from the base of the canvas, envisioning futility of civilisations in the face of cosmos. The entire painting is made in several shades of blue once again; blue being the sodium salt of amobarbital (truth drug) that is used as a barbiturate. The face is an allegory of nature as a silent observer, one which is gradually melting and withering. This work like many of hers’ is primarily an exercise of understanding the relation between human-centric intelligence, consciousness, and question of right and wrong concerned with the relationship between human and nature. For instance global warming is not but a flaw in our understanding. Face to Face again is a painting in blue, copper, black and white with a man and a crane standing face to face. This transports the viewer to a realm of compulsive recognition, where there is an austere necessity to strike dialogues with the natural entities like birds, insects and plants and micro organisms and in course of the process equate with the damages/changes that have been brought about by human culture. Shallow Water, shows a big aquatic bird in the foreground and with an inverted tree with lots of lines and again lumps of mud in silvery grey signifying marks of injury across the body of macrocosm, whereas Weeds, is a work with certain impressions of quietism that occupy the underwater ambience, of allusive sleepy motion of fish and aquatic weeds, the big fish lying at the bottom of the canvas and the smaller ones swimming midway and lumps of debris, being hurled into the water bodies with a scheme to morph the same into solid land/ground for human developments.

Moods of Water suggests convulsing water, where the energy of the same is being concurred by cement, the splashes rendered in blue and green emanate the immense power of nature while being reclaimed which the artist perceives as a farce, to her it is a history of conquest and defeat at the same time.

Local Habitat is a painting with grey tones denoting intermediate characters/ positions, a blue line-drawn fish, print transfers of buildings which rose across the length of the river in Germany contains parallel narratives about varied locales, times and characters, of impressions of organisms buried beneath towers of civilisations.

Jayashree says; “I have liquefied the printed images and used paint on top of it, I wanted to portray the energy of nature, that is what I always try through the

paintings and not by using any other kind of material as substitute, not that I have achieved it. I feel it is a never ending process.”

Cocoon is one cumulative sculptural installation inspired from the animated energy of the architectonics of ants making their homes; this has added a new dimension to her body of work. When we think of a cocoon it reminds us of nature’s way of protecting and nurturing in layers. The work has developed in a pretty similar fashion, in stratum over a long period of time and carrying imprints of images, in the way rocks carry imprints of fossils.

This continuous conflict between our understanding of nature as wilderness or nature as our ‘other’ comes across as a creative pursuit that Jayashree is carrying on relentlessly. Her artworks have always played mediator for conversation between the artist and nature. To her belief, nature is not just the tree outside a window, but it is an all-inclusive recognition, bearing everything she perceives around her. She is constantly employing her artistic accomplishments in negotiating and clarifying the illusory and real conflicts that exist between different urban existences, which are constituents of nature as well. In her works and thoughts it is the accumulation of qualities that contains the macrocosm, resonating William Cronon’s ideas, that, “The place where we are is the place where nature is not. If this is so – if by definition wilderness leaves no place for human beings, save perhaps as contemplative sojourners enjoying their leisurely reverie in God’s natural cathedral – then also by definition it can offer no solution to the environmental and other problems that confront us. To the extent that we celebrate wilderness as the measure with which we judge civilisation, we reproduce the dualism that sets humanity and nature at opposite poles. We thereby leave ourselves little hope of discovering what an ethical, sustainable, honorable human place in nature might actually look like.”2

Jayashree perhaps has set to discover this ethical and ideal place in nature through her artistic endeavors, where words and images share a symbiotic equation within the process of formulation. Therefore listening to the artist is as important as viewing her works. Her artworks maintain the constant act of balancing between rarefied and somatic ideas. Painting is her way of connecting with the cosmos, bearing everything she can comprehend and stating her concerns. The artist’s engagement in discovering and marking changes through images is a thought evoking process; consequentially demanding an attentive reckoner. Maps of such processes are capable of exalting perceptions around connatural art works. “If you will stay close to nature…”, as Jayashree prefers to call them, is a very personalised yet ecumenical documentation that needs to be unearthed and explored through layers of colors and contours.

2 The Trouble with Wilderness; or, Getting Back to the Wrong Nature,(William Cronon, ed., Uncommon Ground: Rethinking the Human Place in Nature, New York: W. W. Norton & Co., 1995, 69-90)

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BIO-DATA

Jayashree Chakravarty lives and works in Kolkata, India. She studied painting (BFA) at Visva-Bharati University, Santiniketan, and took a Post Diploma at the Faculty of Fine Arts of M.S. University, Baroda. She was an artist in residence at Aix en Provence between 1994 and 1995. SOLO EXHIBJTIONS

1982 Urjha Art Gallery, Baroda1983 Academi of Fine Arts, Kolkata1988 Art Heritage, New Delhi1989 Chitrakoot Art Gallery, Kolkata1990 Gallery 7, Mumbai1992 Gallery Espace, New Delhi1992 Sakshi Gallery, Mumbai and Chennai1994 Chitrakoot Art Gallery, Kolkata1995 Echole D’Art, Aix en Provence1997 Gallery 7, Mumbai1998 The Drawing Centre, New York1999 Cima Gallery, Kolkata2000 Thoughts Ricochet, Vadehra Art Gallery2002 The mind is its own space, Bose Pacia, New York2003 Route Map of Experience; Vadehra Art Gallery2004 Memory Record, Gallery Chemould, Mumbai2006 In the very face of the time, Galerie 88, Kolkata.2007 Where the sand meets the sky, Bodhi Art Gallery, New York2009 The Wind Whispers, Aicon Gallery, London

GROUP SHOWS PARTICIPETED

1987 Chitrakala, Festival of India, KulturhusetStockholm1989 Horizon Gallery, supported by Indian Art Council, London1997 Fire & Life, supported by Asia Pacificat IMA, Brisbane, Canberra1997 Trist With Destiny, Art From Modern India, Singapore Art Museum; Singapore1998 Show curated by Peter Nagy, Nature Morte, New Delhi1998 The Looking Glass Self, Lakeeren Gallery, Mumbai2000 A Global View,- Indian Artists at Home in the World, curated by

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Bernhard Steinrucke, The Fine Art Resource, Jehangir Art Gallery, Mumbai.2001 Tramjatra, public art event supported by RMIT University, Kolkata, Melbourne2001 Moving Ideas, A Contemporary Dialogue With India, Hoopoe curatorial, Montreal2002 Secular Practice, Recent Art From India, Hoopoe curatorial, Vancouver2003 Crossing Generations: Di Verge Forty years of Gallery Chemould- an exhibition spanning four generations of Indian artists, curated by Geeta Kapur and Chaitanya Sambarani, at The National Gallery of Modern Art, Mumbai2004 Asian Art Museum, San Francisco2004 Stree, Bodhi Art, Singapore2005 The Artist Lives and Works in Baroda/Bombay/Calcutta/Mysore/ Rotterdam/Trivandrum, by Galerie Mirchandani+Steinrucke, House of World Cultures, Berlin2007 Here and Now, Young Voices From India, Grosvenor Vadehra, London2007 New Narratives: Contemporary Art from India, Curated by Betty Seid, The Art Centre, Chicago,2008 New Narratives: Contemporary Art from India, Curated by Betty Seid, Salina Art Center Kansas2010 Revisiting Nature: Past, Present and Future, Curated by Jayashree Chakravarty, Sanskriti Art Gallery, Kolkata.2010 Indian Highway Contemporary art in India, curated by Julia Peyton- Jones, Hans-Ulrich Obrist and Gunnar B. Kvaran in collaboration with Stinna Toft from HEART. HEART museum Denmark.2010 Looking Glass - The Existence of difference, curated by Gayatri Sinha, Religare Art. New Delhi.2011 Narrations, Quotations and Commentaries, curated by Avijna Bhattacharya, Grosvenor Vadehra, London.2011 Enduring Legacy, curated by Akar Prakar Kolkata, Gallery Newmeister, Muniche and Ambassy of India, Berlin.

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