Roshan Kumar Mogali

  • Gyan Panchal

    In Arun Kolatkar’s poem “Meera,” from his collection Kala Ghoda Poems (2004), a street sweeper puts modest piles of trash on display along the curb in front of the Jehangir Art Gallery in Bombay (now Mumbai). These “installations,” Kolatkar writes, “might as well have been / titled ‘Homage to Bombay, one,’ / ‘Homage to Bombay, two,’ and so on, / since a good bit of the city stands / on sweepings such as these.” The latter bit is a reference to the land reclaimed from the sea for the purpose of filling in marshes and inlets with rubble and refuse, linking what were once seven islands into a single

  • L. N. Tallur

    Ancient and contemporary, traditional and modern conflate in L. N. Tallur’s sculptures, making them historically ambiguous, unbounded by time. Trained in museology, Tallur seems to be particularly concerned with issues of age, provenance, and authenticity as well as with the museum as a site of cultural and evolutionary taxonomy and with its inherent politics of representation.

    In his essay “On the Annals of the Laboratory State” (1988), sociologist Shiv Visvanathan talks about how the time of modernity became the time of the world. In it, he describes how the cyclical theory of time of the

  • Minam Apang

    Ideas of fragility and impermanence ran through the charcoal drawings on cloth and paper in Minam Apang’s recent exhibition, “Drawing Phantoms.” The works on cloth appeared to be landscapes—a turbulent sea; a sky crowded with moons, shrouded in mist; mountains in the distance, only faintly visible. Charcoal’s material characteristics lend themselves perfectly to represent these seemingly ephemeral perceptions. The medium’s easy transformability and monochromy create ambiguous figures; Apang’s hybrid images are not what they seem. The Goa, India–based artist says the works try to embody

  • Aji V.N.

    In his 2014 essay “For a Phytocentrism to Come,” philosopher Michael Marder argues, “In a fight against the nefarious legacy of anthropocentrism, the advantage of phytocentrism over the alternatives is in how it interferes with the all-absorbing projection of the anthropos onto the horizons of the world.” Could Aji V.N.’s recent paintings of trees and verdant landscapes be understood as an attempt to upend what Marder calls “the inflation of the human as the measure and standard for other forms of existence?” In the works in his latest solo show, trees were no longer the inconspicuous, marginalized