Tactile a quality deeply linked to the sense of touch.

. It is a palpable rendition of character in a feeling, a frame of mind, a visceral response; an adjective that makes tangible as metaphor, elusive ideas or the texture of a distant memory. It represents more than a physical faculty. In fact, it transcends such corporeality to help assimilate the experience of sensory perception. And to visually evoke tactility can become an interesting exercise, a necessity, or even a compulsion. As we debate a post-medium condition where boundaries of media and material fall apart to create a space where anything goes, if the artist should say so, a new relevance emerges for materials and media. Diverse as they may be, and despite categories and hierarchies dictated to them going defunct, the fact that the work is indeed a material object remains. Thus, the deliberate selection of a particular material over others informs the work like never before. A free-flowing interaction between different media creates a space through the invalidation of their isolated relevance, where re-evaluation and new meaning-making occurs. More than the material itself, the visceral qualities of a medium is important to any aesthetic practice. Fixating on tactility, media and material ranging from traditional watercolours to fishnet panties and bric-a-brac conspire to evoke their own tactile natures as a sentiment, a mood or an emotion that registers in the visual realm. Retaining tactile as a general adjective, or a visual quality, its various manifestations become the text for the subversive ways in which the artists have dealt with the materials that make up their work. The subversive articulates itself in the way subtle use has been made of objects and subjects they encounter in the everyday, from Masooma Syeds decorative use of womens panties for hats that call upon royal and holy headgears in All the Kings Men and Jacobs Creek, to Shivani Aggarwals evoking of the needle and thread in acrylic, simulating blood vessels on canvases in an attempt to knot a physical reaction to the end of a gleaming needle in Half Knit and Objects: Daydream. Both works, in their references to fabric fishnet for Syed and a ball of thread for Aggarwal use the perceptible characteristics of its material as vehicles for their message.

Such inversions extend to Mohammad Wahiduzzamans juxtaposition of the figure of Mahatma Gandhi and Lata Mangeshkar whose presence as images have become ubiquitous, with popular comic book superheroes, ruminating on the iconicity and the heroism they share with the characters thereby destabilizing the popular archetypes of strength and valour in his works Image + Experience = You I & II. The irony is contained in the stately seeming steel plaques on which he inscribes them in acrylic, isolating the fragmented ideas that inform our times. Thomas and Renee Rapedius derive their installations from their own artistic practices like drawing and photography. Here, their installation made out of sketchpads defamiliarizes the formal associations one would make with sketchpads or paper, to re-read its form, culminating in the razor-edged work. Muhammad Zeeshans works also push the possibilities of paper, using laser scoring on paper to assume the forms through which his method explores the support as a work in itself, through textures and folds in Andy Warhols Marilyn Monroe and The Three Graces. Manisha Gera Baswani challenges traditional mediums such as gouache and the fluidity of watercolours to interpret the surface contours and coarseness of her abstract landscape How Green was my Valley, as well as Melting Moments. C. Douglass work, straight out of his oeuvre follows this line as does Benitha Perciyals use of bark powder and seeds on paper in I Came to Live in this World I & II. Anoli Perera wraps in The Shroud for a Lost Mother, the central experiments that concern Tactile. Not unlike Shivani Aggarwals needles, she objectifies the sensation of pain in the safety pins that make up her shroud, bringing along with it poignantly, the safety pins capacity to mend and other maternal metaphors. The use of the meaning that material has taken on might be aligned with or contrary to its own history and cultural weight, as determined as they may be by the context of their production and milieus of their showcasing. They take on connotations that go further than the locus capturing technique, skill and execution to more profound meaning-making. Even in their traditional manifestations, the limitations and possibilities offered to the work informs the shape it entails, while pushing the limits of convention can unveil strange qualities. In this selfconscious use of materials, tactility becomes the perceived semantic sensation through which material and media articulates itself.
The post-medium condition as premised by Rosalind Krauss in her essay, Two Moments from the Post-Medium Condition.

- Anushka Rajendran

Anoli Perera The Shroud For A Lost Mother Medium: Safety Pins, Cloth, Tailor's Dummy and Wire Year: 2012

Benitha Perciyal I Came to Live in this World I Size: 72" x 48" Medium: Rice Paper, Bark Powder, Seeds, Natural Glue on Bockingford Paper Year: 2012

Benitha Perciyal I Came to Live in this World II Size: 72" x 48" Medium: Bark Powder, Seeds, Natural Glue on Bockingford Paper Year: 2012

C. Douglas Untitled Size: 41" x 53" Medium: Mixed Media on Paper

C. Douglas Untitled Size: 8" x 11.5" Medium: Mixed Media on Paper

C. Douglas Untitled Size: 41" x 53" Medium: Mixed Media on Paper

C. Douglas Untitled Size: 9.5" x 7" Medium: Mixed Media on Paper

C. Douglas Untitled Size: 14" x 29.5" Medium: Mixed Media on Paper

Manisha Gera Baswani How Green was My Valley Size: 24" x 18" Medium: Gouache and Watercolour on Paper Year: 2009

Manisha Gera Baswani Melting Moments Size: 24" x 18" Medium: Gouache and Watercolour on Paper Year: 2009

Masooma Syed Jacob's Creek Size: 23" x 18" x 9" Medium: Women's Panties, Hair, Feathers and Wire Year: 2012

Masooma Syed All the King's Men Size: 23" x 19" x 12" Medium: Women's Panties, Hair, Feathers and Wire Year: 2012

Mohammad Wahiduzzaman Image + Experience = You I Size: 40" x 40" x 10" Medium: Acrylic on Canvas and Steel Year: 2012

Mohammad Wahiduzzaman Image + Experience = You II Size: 40" x 40" x 10" Medium: Acrylic on Canvas and Steel Year: 2012

Muhammad Zeeshan The Three Graces Size: 45" x 28" each (Triptych) Medium: Gouache and Laser Scoring on Paper Year: 2012

(Detail)
Muhammad Zeeshan The Three Graces Size: 45" x 28" each (Triptych) Medium: Gouache and Laser Scoring on Paper Year: 2012

Muhammad Zeeshan Andy Warhol's Marilyn Monroe I Size: 24" x 24" Medium: Laser Scoring on Paper Year: 2012 Edition of 5, 1/5

Shivani Aggarwal Half Knit Size: 10" x 10" (set of 8) Medium: Acrylic on Canvas Year: 2012

Shivani Aggarwal Objects Daydream Size: 6" x 4" each. Display size variable. Medium: Acrylic on Handmade Paper Year: 2012

(Detail)
Shivani Aggarwal Objects Daydream Size: 6" x 4" each. Display size variable. Medium: Acrylic on Handmade Paper Year: 2012

Thomas and Renee Rapedius O.029 Size: Variable Medium: Sketchpads Year: 2009 - 2011

INSTALLATION IMAGES

INSTALLATION IMAGES

INSTALLATION IMAGES First Floor

Hindustan Times | October 4, 2012

The Statesman | October 11, 2012

Art Info| October 12, 2012

http://in.blouinartinfo.com/news/story/833189/ artinfo-indias-weekend-itinerary-for-delhi-andmumbai

The Asian Age | October 15, 2012

L : Deccan Herald October 17, 2012 R: The Indian Express October 24, 2012

The Asian Age| October 25, 2012

ANOLI PERERA

Anoli Perera was bornin Colombo. A self-taught artist, she is currently based in Colombo and works as a full time professional artist. She was part of the wave of artists in the 1990s who have professed a new ideological position in art production in relation to the contemporary art knowledge and social context in Sri Lanka. She has been trained as a stone carver in the USA and has had a number of art exhibitions in Sri Lanka as well as internationally. Her art practice of over 15 yearsincludes painting, sculpture, installation, and object art. Her selected solo exhibitions include Comfort Zones, Kashi Gallery, Kochi, India (2012); Quveni: The Queen of Lanka, Hempel Gallery, Colombo, Sri Lanka (2011); Comfort Zones, Red Dot Gallery, Pita Kotte, Sri Lanka (2007); Goddesses Descending, Studio @ HW Architects, Colombo (2003); In the Entangled Web, Barefoot Gallery, Sri Lanka (2001); My Narratives,Gallery 706, Colombo, Sri Lanka (1999); and The Vehicle Named Woman, Heritage Gallery, Colombo, Sri Lanka (1998). Some of the group exhibitions that she has been a part of are Tactile, Latitude 28, New Delhi (2012); Becoming - Colombo Art Biennale; J.D.A. Perera Gallery, Colombo, Sri Lanka (2012); Theertha Artists at Shanthi Road, 1 Shanthi Road, Bangalore, India (2011); Between Kismet and Karma, Leeds Art Gallery, Leeds, UK (2010); Creating Commonwealth, DLF Emporio Mall (by Gallery Ragini), Delhi, India (2012); Theertha Artists at Shanthi Road, 1 Shanthi Road, Bangalore, India (2010); Artful Resistance - Contemporary Art From Sri Lanka; Museum der Weltkulturen, Frankfurt, Germany (2010); Theertha Artworks on Paper, National Art Gallery, Male, Maldives (2009); Artful Resistance: Crisis and Creativity in Sri Lanka. Museum fr Vlkerkunde, Austria (2009); Separating Myth from Reality (Art Festival), Siddhartha Gallery, Kathmandu, Nepal (2009); Six Degrees of Separation, Ananth Gallery, Delhi, India (2008); (A)critical Intimacy, Harold Peiris Gallery, Colombo, Sri Lanka (2006); Ten Artists Exhibition, Millesgarden, Lidingo, Sweden (2005); Urban and the Individual, Finomenal Space Gallery, Colombo, Sri Lanka (2004); 2nd Fukuoka Asian Art Triennale, Fukuoka, Japan (2002); Crafty Thoughts, University of Liverpool Gallery, Liverpool, UK (2002); Reclaiming Histories: A Retrospective Exhibition of Womens Art, Sapumal Foundation Gallery, Colombo, Sri Lanka (2000); No Order Group Exhibition, VAFA Gallery, Ethul Kotte, Sri Lanka (1999); and Self Help (a travelling art exhibition), Malm, Vxj, rebro and Stockholm in Sweden (1998). Besides the solo and group exhibitions, she has been part of several workshops and symposiums like the Lijiang International Artists Workshop, Lijiang, China (2003); Art Exchange Program: The 2nd Fukuoka Asian Art Triennale (2002); Visiting artist, Faculty of Creative Arts, University of Wollongong, Australia (2002); South Asia Conference 2002, Manchester Art Gallery, Manchester, UK (2002); Seminar for South Asian Artists Network Project. International Centre, New Delhi, India (2000); Theertha International Artists Workshop, Lunuganga, Sri Lanka (2000); Participation in the KHOJ International Artists Workshop, Modinagar, India (1999); and KHOJ Symposium, British Council, New Delhi, India (1999).

BENITHA PERCIYAL

Benitha Perciyal K. did her BFA and MFA in Painting & Printmaking in 2002, from the Government College of Arts & Crafts, Chennai. Exhibitions she has participated in include Tactile, Latitude 28, New Delhi (2012); Art for Humanity organized by citizens for justice and peace, Coomaraswamy hall, Mumbai (2012); To let the World In, curated by Chaitanya Sambrani at Lalit kala Akademi organised by Art Chennai (2012); Ode to a Fierce Fecundity, Solo show at Chandra mandala, Spaces, organised by Art Chennai (2012); India Art Fair 2012, New Delhi (2012); Emerging idioms at Sridharani gallery, New Delhi (2011); Serendipity group show at Galleri Vreta kloster, Sweden (2011); Turn of the Tide at Taj by Tangarine Art space, Bangalore (2011); Artist of the monthat indigo-lambudrum gallery invited by cholamandel artist village, Chennai (2010); Search within Gallerie 88, Kolkota (2010); Gender Genesis Genetics Gallery Espace, New Delhi (2009); India Art Summit 2009 Apparao Gallery, Pragathi Maidan, New Delhi (2009); 2008 Trilogy 2 a group show in The Noble Sage art gallery, London; Surface to origin a group show at Gallery Soul flower, Bangkok (2008); The Whirlpool of Fate the visual art gallery Habitat center, Delhi (2007); Working Indian Artists from Lalit Kala Akademi at Graphicus Atelier, Cumberland, USA (2007); Portrait exhibition in Svendborg, Denmark (2007); Asian Young artist in Heyri,a group in Seoul, Korea (2007); Promising Artist show 2006 by Art India Magazine and Indian habitat centre at visual art gallery, Delhi (2006); Trilogy 2006 a group show in Lalit kala akademi, Chennai (2006); Chennai Exite New Works from Southindia at Noble Sage Art Gallery, London (2006); Woman @rt 2005 forum art gallery, Chennai (2005); Indian art exhibition in Accra, Ghana (2005); 'Perturb me not' solo exhibition at Alliance Franchaise of Madras (2004); ABC show at apparao gallery (2003); Aifacs jubilee exhibition (2000). She has also received several awards like Promising Artist Award 2006 at Visual Arts Gallery (2006); Research Grant 2003-2004 from Lalit Kala Akademi (2004); Scholarship to Young Artist from Department of Culture, Govt. of India (2003-2005); Arnawaz Vasudev Charities Scholarship (2002-2003); Best Student from College of Arts & Crafts (2002); State Award 2000 by Lalit Kala Akademi (2000).

C. DOUGLAS

C. Douglas was born in Kerala in 1951. At twenty he joined the Government college of Arts and Crafts, Madras. His colored drawings from the mid-70's with the foetus motif show an influence of K. Ramanujam's line and K.C.S. Panikar's moods. Before obtaining his diploma in painting (1976) he settled down at Cholarnandal style, like that of Visvanathan, but cooler and more complex. From 1981 to 1988 he lived in West Germany, his paintings gradually softer and less structured, imbibed stains, scribbles, tears and dirty tones. Later he drew there enigmatic and tangled layers of bodily felt emotions - gentle and painfully attuned. in which an experience of Wols is present. His acquaintance with the New Expressionists, Clemente and Anselm Kiefer stimulate only his fully mature work- after the return to Cholamandal. using mud, charcoal and water colors on crinkling, frayed paper, he arrived at a universalized figure which approximates both subliminal depths and analysis, while with the medium. Stronger eventually, but always restrained to matter, textured blacks nuances by lines, to earth and corroded, metallic greys his works have harsh mild, angular human figures, often with masks or only foetus set man unclear, permeable space which in a tactile as well as symbolic and lyrical way blends signs and evocations of a civilization palimpsest. In it indistinct but wide suggestions of personal and general narratives, situations, values and art-historical quotations add to a sense of an entire life journey. There blind violence, sexual drive and passive progression, building, reflecting, suffering, enduring and loving, decomposition and rebirth, chaos and creativity coexist in a suspended fluidity and simultaneity, all leaving traces on the torn, pierced, collaged and crumpled paper, smoothed by charcoal, lead, crayons and chalk. Douglas has had several solo exhibitions: Muniau 1982, Munich 1986, Amsterdam 1994, Bombay, Madras and Bangalore, Sakshi 1992-1996. His participation includes Tactile, Latitude 28, New Delhi (2012); shows in Germany 1981-90, Amsterdam 1991, 95, Help age India, Bombay 1991, 93, V-11 Triennale, New Delhi 1992, Art for Cry, Biennale Bhopal, Contemporary Indian painters, Jehangir Art Gallery, Bombay, Urban signals, Birla Art Academy, Bombay l995, during the past two years at Sakshi, Bangalore, Bombay, The Gallery, Madras, Vadehra Art Gallery, New Delhi, Chemoud Bombay, Values Art Foundation, Madras. Douglas has received awards from the 1.K.A., Madras in 1980, 89, 90, Bharat Bhavan Biennale in 1990, a national award for paintings, New Delhi 1992,junior and senior Government of India Cultural Fellowships for 1991-93, 1994-96 and a Charles Wallace grant in 1994 to study ceramics in the Netherlands.

MANISHA GERA BASWANI

Manisha Gera Baswani completed her masters in Fine Arts at the Jamia Millia Islamia University in 1992 followed by a scholarship from the French Government to study in Paris in 1993. A recipient of the National scholarship for young emerging artists (1991-93) from the Government of India, she also received The Junior Fellowship (1995-97). Manisha has held solo shows in Delhi, Mumbai and Chennai in the past ten years. She has been invited to lecture at the National College of Art, Lahore and Indus Art College, Karachi. She has also worked as Creative Director on a project on the Gita-Govinda; a multi-media joint project of Indira Gandhi National Centre of Arts under Dr. Kapila Vatsyayan, in which Xerox Palo Alto gave technical input. This path-breaking exhibition, which explores the fusion of culture and technology, continues to travel to leading institutions of the world. From 2008-11, the Tun Foundation Art Exhibition invited her annually as a jury member to Myanmar. Her solo shows have been held at Palette Gallery, New Delhi (2007); Chemould Gallery, Mumbai (2005); Shridharani Gallery, Triveni, New Delhi (2003); Apparao Galleries, Chennai (2001); Chemould Gallery and Fine art Resource, Mumbai (2000) and Shridharani Gallery, Triveni, New Delhi (1994). Exhibitions that she has been a part of include Tactile, Latitude 28, New Delhi (2012); Fabular Bodies, curated by Gayatri Sinha, Harmony Art Foundation, Mumbai (2011); Size MattersOr Does it? I & II, curated by Bhavna Kakar, Latitude 28, New Delhi, NCPA, Mumbai (2010); DeSizing, curated by Anupa Mehta, NCPA, Mumbai (2007); Telling it like it is, The Indian Story, Gallery Espace, New Delhi (2007); Paper Flute, curated by M.L. Johny, Gallery Espace, New Delhi (2006); Making of Divinity, curated by Ina Puri, Sakshi Gallery, Mumbai & Delhi (2005); Identity, Alienation, & Amity, curated by Bina Sarkar Ellias, Tao Art Gallery, Mumbai (2005); Generation 1 Gallery Guild & Saffron Art, curated by Girish Shahane, Mumbai (2004); Anticipation Fine Art Resource, Mumbai (2004); Contemporary Miniatures Fine Art Resource, Berlin (2003); In Conversation Gallery Espace, curated by Gayatri Sinha, New Delhi (2002); Nayika Group Show curated by Anupa Mehta, Tao Art Gallery (2000); Watermark Group Show, Fine Art Resource, Mumbai (1999); Kala Ghoda Art Festival, Mumbai (1999); 2 Persons Show, Gallery Schoo, Amsterdam, Holland (1995); and National Exhibition, Lalit Kala Academy, New Delhi (1992). Manisha was instrumental in co-starting a creative collective three years back in New Delhi called Manthan (www.imanthan.org), a quarterly event which focuses on bringing together professionals across artistic fields to share their process and methodology with peers in the fraternity to support cross-cultural dialogue in her city, New Delhi. Manisha has also been photographing fellow artists and those they cross paths with, in their creative spaces now for 9 years. Her project Artists through the Lens' was shown exclusively by Devi Foundation during the recently concluded India Art Fair, 2012. Her works are in the collection of the National Gallery of Modern Art, New Delhi.

MASOOMA SYED

Masooma Syed, born and brought up in Lahore, Pakistan, studied painting and later studied MA in Visual Arts from National College of Arts, Lahore. Since then she has been involved in studio practice, and has exhibited in Pakistan and abroad, participating in several artists residencies and workshops. Masooma has also taught art in various art institutes namely The National College of Arts, Lahore; Beaconhouse National University, Lahore; Indus Valley School of Art and Architecture, Karachi; as well as School of Art and Design, Kathmandu University, Nepal and Manchester Metropolitan University, England. Some landmark exhibitions for Masooma were her first solo show at Rohtas Gallery Islamabad (1996), and Art Space University, New South Wales while she was on the Commonwealth Arts and Crafts Fellowship in Sydney (1997-1998). Her other solo shows include those at Rohtas Art Gallery Islamabad (2000); Rohtas Gallery II, Lahore (2002); and Indus Valley Gallery, Karachi (2009). Some of her group shows include Tactile, Latitude 28, New Delhi (2012); Miniscule Marvel at BMB gallery, Mumbai (2011); Fiction and Reality, two person show at Canvas Gallery, Karachi (2010); Strange Days - The Uncanny in Contemporary Pakistani Art, at The Drawing Room Art gallery Lahore (2010); The state of things - Recent Art from Pakistan, Aicon Gallery London (2010); Women artists show, Vadehra Art Gallery, Delhi (2009); Art against Terrorism, Emami Chisel, Calcutta (2009); Six degrees of Seperation, Khoj Project, Anant Gallery, Delhi (2008); Thread of Silk, Ars Ornata Europeana, Manchester (2007), England (2007); Parallel Realities Fukuoka Triennale, Museum and Art Gallery; Third Asian Art Triennale, Japan (2005); Asian Art Now, a touring exhibition of work from the Third Fukuoka Triennale, Japan to Blackburn Museum, UK (2005); Beyond Borders - Contemporary Art in Pakistan at NGMA, Mumbai, India (2005); Darmiyaan, Nehar Ghar Gallery, Lahore, Pakistan (2003); Threads, Dreams, Desires - Contemporary Art from Pakistan, Harris Museum &Art Gallery, Preston-England (2002); Playing with the Loaded Gun exhibition at Apex art in New York and in Kunsthalle Fridericianum, Kassel, Germany (2002); Darmian in view of 11th September at Rohtas Gallery 2, Lahore (2001); Another Vision - 50th Anniversary of Pakistan, Brunei space, London (2000); 12th Afro-Asian, Latin-American Exhibition, Metropolitan Museum, Tokyo (2000); Group show, Off Set Gallery, Islamabad (1998); Scope VII group show of NCA faculty at NCA Gallery, Lahore (1997); Group show at Alliance Francaise, Lahore (1996); Women Scape - Show on World Women Day, Alhambra Art Gallery, Lahore (1996); and Traveling Exhibiton of Pakistani Artists, Cairo, Damascus and Oman(1994).

MOHAMMAD WAHIDUZZAMAN

Mohammad Wahiduzzaman was born in 1978 in Dhaka, Bangladesh. The present world, according to the artist, is losing its values and humanity by balancing the way of life with rationality and practicality. These phenomena inspired artist Mohammad Wahiduzzaman to depict the scare of modern society through the tools of symbols, colors and textures in his painting, sculpture and installation practices. The artist likes to experiment with different media, materials and processes such as space division, size of canvas in conjunction with blending painting with sculpture, theme-wise. He won the Grand Prize of 14th Asian Art Biennial Bangladesh in 2010. He won the Berger Young Painters Award twice (2000, 2001), which is one of Bangladeshs highest honors for young artists. He received a prize in the 1st Tone International Miniature (1998). He is a recipient of numerous awards for his art works in Bangladesh. The artists work have been exhibited in a number of international exhibitions including Tactile, Latitude 28, New Delhi (2012); 9th Bharat Bhavan International Biennial of Print-Art, India (2011) organized by Roopankar Museum of Fine Arts, Bharat Bhavan; 14th Asian Art Biennial Bangladesh (2010), 1 mile2 (2009); Asian Art Biennial (2008); Sharjah Biennial 8 (2007); 15th Japan Asia Africa Latin America cultural exchange art exhibition at Tokyo Metropolitan art Museum (2006); Young Artist Art Exhibition from Bangladesh at Chuwa Gallery, Tokyo (2002, 2006, 2007); Ajac Exhibition New Art in Japan, Tokyo (2001, 2006); 7th Bharat Bhavan International Biennale of Print Art Exhibition, India (2006); Lacda International Juried Competition at Los Angeles (2007); and Canada International Miniature Art Show (2000, 2001). His work also has been exhibited in National exhibitions including Young Artist Art Exhibition (2000, 2001, 2002, and 2006) and National Art Exhibition (2000, 2002, and 2007), along with many other group exhibitions. The artist lives and works in Dhaka

MUHAMMAD ZEESHAN
Muhammad Zeeshan graduated from the National College of Arts, with a BFA in Miniature Painting. He was a visiting faculty with the Fine Arts department, thesis year at the Indus Valley School of Art and Architecture, Karachi (2011). He was also the External Advisor, Thesis Year, Masters Program at the National College of Arts, Lahore (2011 & 2008). His other professional experience includes Miniature Core Studio Major, Hunderkada College, Lahore (2005-2008) and Drawing Studio, Multi-Media Masters Program, National College of Arts, Lahore (2005). His selected solo shows are New Works by Muhammad Zeeshan, Canvas Art gallery, Karachi, (2012); Past Traditions/Present Discourses I, Special Siri Series, Aicon Gallery, New York, USA (2011); Recent Works of Dying Miniature Series, Canvas Art Gallery, Karachi, Pakistan (2010); Abrasive Drawings, Rohtas II, Lahore, Pakistan (2009); Dying Miniature, Green Cardamom, London, UK (2009); Ishtehaar Lagaana Mana Hai, Public Art Project, KOCA (Kiosk of Contemporary Art), Weimar, Germany (2008); What Lies Beneath, Jehangir Nicholson Art Gallery, Mumbai, India (2008); Profane Illuminations, Aicon Gallery, New York, USA (2008); Profane Illuminations, Preview, Rohtas II, Lahore, Pakistan (2008); New Work by Muhammad Zeeshan, Chawkandi Art Gallery, Karachi, Pakistan (2007); Sublime Maladies, Anant Art Gallery, Delhi, India (2007); and Beyond Appearences, Canvas Art Gallery, Karachi, Pakistan (2006). Some of the group shows that he has been part of are Lines of Control: Partition as a Productive Space, A Green Cardamom Project, Herbert F. Johnson Museum, Cornell University, Ithaca, New York (2012); Mein - The Artist and the Self', Koel Gallery, Karachi (2012); 'Drawn from Life', Abbot Hall Art Gallery, Kendal, UK (2010); Beyond the Page, Pacific Asia Museum, Pasadena, curated by Hammad Nasr, Briget Bray and Anna Sloan USA (2010); Hong Kong Art Fair, represented by Green Cardamom (2010); Havelian Express, Cais Gallery, curated by Whitney Ferrari, HK (2010); Bazghashth, Tradition Method and Modern Practices, Art Gallery of Mississagua, Canada, curated by Ali Adil Khan, Asma Arshad, Mahmood and Robert Freeman (2009); Kein Ding, Acc Galerie, Weimar, Germany, curated by Frank Motz (2009); India Art Summit, represented by Anant Art Gallery (2009); 'Safavid Revisted, British Museum, London, England (2009); Hong Kong Art Fair represented by Green Cardamom (2009); Dubai Art Fair, represented by Green Cardamom (2009); Ghost of Souza, Aicon Gallery, New York, USA (2008); Pulse Art Fair represented by Aicon Art Gallery (2008); Dubai Art Fair Art Park Project Chosen for Commissioned Project by The Committee, Dubai, UAE, represented by Green Cardamom (2008); Hong Kong Art Fair represented By Green Cardamom (2008); Unstern. Sinistre. Disastro, Acc Gallery, Weimar, Weimar, Germany curated by Frank Motz (2008); Afghanistan: Future, Gemak/Gemeentemuseum, Holland, reperesented by Green Cardamom (2008); Size MattersOr Does it? II, Jehangir Nicholson Gallery of Modern Art, Mumbai, India, curated by Bhavna Kakar (2007); Dialogue with Tradition, National Art Gallery, Islamabad, Pakistan (2007); Contemporary Arts from Pakistan, Thomas Erben Gallery, New York, curated by Thomas Erben (2007); From Pakistan to Montmartre, Gallerie Chappe, Paris, France curated by Mannan Ibrahim (2007); Lila/Play: Contemporary Miniatures and New Art from South Asia, Melbourne, Australia, curated by Haema Sivanesan (2006); Contemporary Chronicles, Art Alive, Delhi, curated by Humaira Abid (2005); Miniatures Contemporaines Du Pakistan Villefranche De Rouergue, La Halle, France, curated by Virgina Whiles (2005); 'Segregation', Anant Art Gallery, Delhi, India, curated by Imran Qureshi (2005); 'Love/Hate', The Third Line Gallery, Dubai, curated by Nada Raza (2005); 'Reinventing Narratives', La Galerie Mohammed El Fassi, Rabat, Morocco, curated by Salima Hashmi (2005); 'Contemporary Miniature Paintings from Pakistan', Fukouka Asian Art Museum, Japan, curated by Virginia Whiles (2004); 'Terror cannot be Exterminated by War', Metropolitan Museum Tokyo, Japan, curated by Kazuko Tajima (2004); and Top of the Pops', National College Of Arts, Lahore, Pakistan (2003). He has also received awards like Acc Wiemar Galerie Scholarship, Germany (2008); Charles Wallace-Rangoon Wala Trust Award (2007); Bhatti Fashion Show Scholarship (2003); and National Art College Grant Scholarship (2002).

SHIVANI AGGARWAL

Shivani Aggarwal completed her Bachelor of Fine Art in Painting from College of Art, New Delhi in 1996. She has held her solo exhibitions at Wimbledon School of Art, London, in 2003, where she went as an artist in residence with a Charles Wallace India Trust Scholarship. Her work has also been shown at the British Council, New Delhi in 2004. She received the Bronze medal in the All India exhibition of contemporary artists, Avantika in 1998, Graphic Scholarship from the Kanoria Centre for Arts, CEPT Campus, Ahmedabad in 1997-98, Charles Wallace India Trust Award for one term at Wimbledon School of Art, London in 2003, and Garhi Grant from the Lalit Kala Akademi in 2004. Her solo exhibitions include those at Gallery Rohtas 2, Lahore, Pakistan, November (2006); Bombay Art Gallery, Mumbai (2007); and Close Knit Gallery Studio Art (2010). The workshops which she has been a part of include PARTage, an international artists workshop in Flic-en-Flac, Mauritius (2004); Lalit Kala Artist camp; Garhi arts festival (2008); Marvel art camp Mumbai (2012); and The Speaking House art workshop organized by BAI , Kerala (2012). Some of the group shows that she has been part of are 'Small but Significant', a group show at Academy of Fine Art & Literature, New Delhi (2001); The Closet a group show of 5 women artists curated by Mrinal Kulkarni at Academy of Fine Art & Literature, New Delhi (2002); 'Gangcey', a group exhibition of young Indian contemporary artists at the Lionel Wendt Gallery, Colombo, Sri Lanka (2003); Group exhibition of Indian contemporary art at Galleria Borowski, Cologne, Germany (2003); Group exhibition at the MGI galley PARTage, Mauritius (2004); Ways Of Seeing an exhibition curated by Ms. Sushma Bahl at the Visual Arts gallery with Art Alive gallery (2005); The Way We Are group show at Viart gallery (2008); 1X1 with gallery The Loft, Mumbai (2009); Indian Art Summit with Viart gallery and The Loft gallery Booth (2009); Project Postcard, Gallery Hacienda, Mumbai, curated by Jasmine Shah Verma (2009); Alt+refresh, Alliance Francaise, Delhi (2010); And the Red, Abadi Art Space, New Delhi (2011); Trilogy, Abadi Art Space, New Delhi (2011); Intarsia /Memory Trace, Sakshi Gallery, Mumbai, (2011); Next in Line, Gallery Blue Spade, Bangalore (2011); India Art Collective Online Art Fair with Palette Art gallery (2011); Fragile, 1x1 gallery, Dubai (2011); India Art Fair with Abadi Art Space (2012); 2+2=5, Palette Art Gallery, New Delhi (2012); and Tactile, Latitude 28, New Delhi (2012). She lives and works in New Delhi.

THOMAS AND RENE RAPEDIUS

Thomas & Rene Rapedius were born in Lower Saxony 1975/1973. Selected exhibitions are Tactile, Latitude 28, New Delhi (2012); Oder wie der Dinge Erscheinung sich formt, Museum Morsbroich, LeverkusenLicht, Darmstdter Sezession, Darmstadt (2012); Double Take, Arthur Boskamp-Stiftung, Hohenlockstedt (2011); Land schaffen, Syker Vorwerk, Syke Das Ei des Kolumbus, Souterrain, Berlin Long Live Drawing! 2, Daejeon Museum of Art, Daejeon, Sdkorea (2010); Worpswelten, Kunstverein Gttingen (2008); Monte Vera, Klaus von Nichtssagend Gallery, New York, USA; Worpswunder, Kunstverein Springhornhof, Neuenkirchen Geborgene Landschaften, Knstlerhuser Worpswede * (2007); CRG Gallery presents: Klaus von Nichtssagend Gallery, New York, USA (2006); Papierwald, Kunst Nu/S.M.A.K., Gent, Belgien Stars of Stripes, Klaus von Nichtssagend Gallery, New York, USA; Circuitos/ Circuits, Centro Cultural Matucana 100, Santiago de Chile, Chile (2005); and Bergkristall, Ausstellungsraum Taubenstrae 13, Hamburg * (2004). They have been the recipients of various grants including Grant, Stiftung Kunstfonds, Bonn (2012); Project grant, Karin Abt-Straubinger Stiftung, Stuttgart (2011); Studio grant, Busan, Sdkorea (2010); Project grant, Senatskanzlei Kulturelle Angelegenheiten, Berlin; Studio grant, GoetheInstitut Bangalore, Indien (2009/10); Grant, Kthe-Dorsch- und Agnes-Straub-Stiftung, Berlin (2009); Studio grant, Buenos Aires, Argentinien; supported byKulturbehrde Hamburg; Studio grant, Knstlerhuser Worpswede (2007); and Grant Karl H. Ditze Stiftung, HfbK Hamburg (2003).

View the show online - http://www.latitude28.com/index.php/exhibitions/view/39/current

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