Photos: Kounteya Sinha, Paroma Mukherjee, Shome Basu
Text: Tomasz Kozlowski
These images are from an ongoing exhibition, New Homelands: The Indian Diaspora in the European Union.
For people of Indian origin now living in Europe, the reasons for their choice are as diverse and intriguing as the paths that took them to their new homes. How did they make the transition to Europe, learning new customs, a new profession perhaps, and often, a new language? How do they see the society they live in and now call home? What happens when their children are born in Europe developing new and multiple identities?
At the invitation of the European Union Delegation to India, three Indian photojournalists have just spent a month meeting people of Indian origin who have made their home in the European Union. Through their lenses, this cultural project, explores the myriad journeys of this diaspora, and their contributions to the countries of the European Union. I believe this exhibition will surprise and delight visitors but I am also hopeful that it will deepen understanding and goodwill between the peoples of the two biggest democracies in the world.
The exhibition continues at India Habitat Centre till 7 November; curated walks of the exhibition will be held daily from 21-30 October, at 6:30 p.m. on weekdays and 5 p.m. on weekends.
Photos: Karan Kapoor & Tasveer Gallery
Text: William Dalrymple & Felicity Kendal
These images are from the exhibition Time & Tide going on at TARQ gallery, Mumbai, featuring photographs by Karan Kapoor.
Curated by Nathaniel Gaskell, Time & Tide brings together two bodies of work made by Kapoor in the 1980s and 1990s, and focuses on people and places that have either been lost to history, or changed beyond recognition.
The first series in the exhibition presents a study of ageing Anglo-Indians, primarily from Bombay (Mumbai) and Calcutta (Kolkata), and forms one of Kapoor’s earliest personal photography projects. He writes, “I was more interested in the older generation as they seemed to be the last remaining remnants of the British Raj — people who remembered the railway cantonments, the Marilyn Monroe look-a-like contest, the ‘Central Provinces’, and so on, a world long gone.”
This idea of a world no longer present or fast fading also forms a central thread in Kapoor’s second series presented here, that is comprised of photographs taken during his frequent visits to Goa, where he vacationed with family and friends at their house on Baga Beach. Taken in the 1990s, these photographs capture an older Goa: the last of “Portugal Goa”. Although Goan Catholics, probably the largest inheritors and key defenders of their Portuguese heritage, continue to exist in Goa today, their numbers have steadily declined over the years.
The exhibition will continue till 16 October
Photos: Debasish Mukherjee
Text: Kanika Anand
The images presented come from a selection of mix-media works from an exhibition, entitled The Museum Within, by artist Debasish Mukherjee.
Drawing on the disciplines of cartography, archaeology and design, the exhibition concerns itself with the position and function of the “museum”, elucidated specifically in the selection and cataloguing of objects for display as well as its role in conservation.
Donning the mantles of archaeologist, museum curator and conservator, Mukherjee reimagines these roles and reconstructs architectures and objects from his past in order to raise questions around preservation and neglect. The Museum Within proposes alternative forms of inquiry into the preservation of Indian heritage. Do our museums aptly serve as custodians of material culture and collective identity? Do our historical sites deserve more respect as emblems of social history? How can we communicate our centuries-old traditions better, so as not to lose them completely?
The exhibition goes on till 5 November at Akar Prakar Gallery in New Delhi
Photos: Pablo Bartholomew
Text: Nature Morte
The photographs represented here are from the series Memento Mori by photographer Pablo Bartholomew. In 1986, Pablo was commissioned by National Geographic to photograph the monumental effort of 15,000 Bangladeshi men who had to physically close the mouth of the Feni River to control flooding and create a freshwater reservoir for irrigation over a seven-hour intertidal marathon, thus building the largest dam in the country. The cardboard box where he kept the Kodachrome slides from the assignment was feasted by termites thus affecting the slides. In the process, there emerged entirely new works of art. Memento Mori is Bartholomew’s attempt at resurrecting the corpses of his images, albeit fully conscious of their irreversible state of mutation. In enlarging and presenting these ruins, he restores the intimacy and immediacy of their contents while exposing the futility of the human attempt at preservation.
“Memento Mori” continues till 24 September at Nature Morte Gallery, New Delhi
Photos: Niyogi Books
Text: Lean Deas
The photos represented here are from the book Horse Racing in India: A Royal Legacy by Lynn Deas. In India’s early history, horses were an important part of daily life: they served as draught animals, as a means of transport, and in the defence services. It was only in the latter part of the 18th century that army officers set off to race horses against each other for a private wager. Evidence suggests that racing first began in Madras and subsequently spread to the east.
The second half of the 19th century saw racing evolve from being a mere pastime and friendly competition to a sport with great potential for development. With the support of the early Englishmen as well as Indian princes and maharajas, racing in India achieved glorious heights. Today, the sport is more commercialised and is increasingly viewed as a “rich man’s sport”. There are numerous theories on what the future of Indian racing holds; many agree that there is a need to lessen taxation and attract younger people to the sport to increase its popularity.