Sheela Gowda

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Installation Stop over (2012)

Sheela Gowda (* 1957 in Bhadravati ) is an Indian artist.

Life

Gowda studied painting at the Ken School of Art in Bangalore until 1979 and painting at the Visva-Bharati University in Santiniketan until 1982 .

She received a scholarship for a master’s degree at the Royal College of Art , London (1984–1986) and a guest stay at the Cité Internationale des Arts Paris . She also taught at the Chamarajendra Academy of Visual Arts (CAVA) in Mysore for several years .

Gowda lives in Bangalore, India (renamed Bengaluru in 2014), interrupted by regular stays in Switzerland. She is married to the Swiss conceptual artist Christoph Storz, who introduced her to European conceptual art and the work of Joseph Beuys .

plant

Gowda began her career with oil paintings that deal with the situation of women. When social unrest broke out in other parts of India as a result of the uprising in Bombay in 1992 , Gowda's work underwent a profound change. Oil painting took a back seat in favor of materials with more metaphorical expressiveness. She made blocks of cow dung , which they slashed and punctured and then with kumkum powder, gold leaf and decorated fabric; the associated violence plays an essential role in the meaning of the work of art. At the end of the 1990s, works made of coconut fibers followed .

The installation Private Gallery (1999–2000) consists of two large wall panels that are put together to form a free-standing corner. The surface of the outside is smooth and industrially manufactured, the inside is decorated with lumps of cow dung, giving the impression of rural house walls. Watercolor paintings of Bangalore are also attached to this side. The work stands for the clash of urban and rural aspects of India, which is expressed in the rapid and uncontrolled development of the city of Bangalore.

In 1999 Gowda showed her installation And tell him of my pain , which blurs the lines between art and craft. In 2007 Gowda was represented at documenta 12 with another version of the work. She had pulled a thread about a hundred meters long through 89 needles and then made a cord from the threads by twisting the threads into one another, gluing them with gum arabic and coloring them with red turmeric . The cord that was laid out or hung from the ceiling had the function of opening up the exhibition space. In addition, she alluded to local Indian contexts, including the ritual use of turmeric and traditional women's handicrafts. In addition, the work also referred to historical-political contexts such as the colonization of India by the British and the entanglements in the course of globalization . Hanno Rauterberg said that the rope could also create associations with a tow rope, Ariadne thread or a seat belt.

At the first Kochi-Muziris Biennale in 2012, Gowda and her husband were represented with the joint project Stop over ; this installation was made up of discarded spice mortars and alluded to the role of the city of Kochi as a traditional center of the spice trade.

Gowda is interested in rural life and its traditions in India. She uses painting, drawing, installation and sculpture and combines traditional artistic techniques with Western methods.

She also works as a photo artist, where she does not take photos herself, but selects and revises photographs taken by others. Her series Loss (2008) with photos from the violent Kashmir region was purchased by the Solomon R. Guggenheim Museum .

Exhibitions (selection)

Solo exhibitions

Group exhibitions

Awards

literature

Web links

Individual evidence

  1. ↑ a b Sheela Gowda at Contemporary Indian Art ( Memento from August 7, 2011 in the Internet Archive )
  2. ^ Karen Wright: Sheela Gowda, Ikon Gallery, Birmingham, review: Confidence is shown in the artist's simple storytelling. In: www.independent.co.uk. June 20, 2017, accessed January 18, 2020 .
  3. ↑ a b c Amrita Jhaveri: A Guide to 101 Modern & Contemporary Indian Artists. India Book House, Mumbai 2005, ISBN 81-7508-423-5 , p. 112.
  4. ^ A b Roger M. Buergel : documenta 12: The migration of form. In: www.faz.net. April 23, 2007, accessed January 17, 2020 .
  5. ↑ See photo of the Kassel installation in: Maria Lassnig Prize for Sheela Gowda. In: www.derstandard.at. March 13, 2019, accessed January 25, 2020 .
  6. ↑ Hanno Rauterberg: Documenta: The Conspiracy of Forms. In: www.zeit.de. June 6, 2007, accessed January 17, 2020 .
  7. ^ Biennale in India. In: www.welt.de. Retrieved January 25, 2020 .
  8. ^ Artist of the Week; Sheela Gowda , The Guardian, Jan. 26, 2011
  9. ↑ Short biography of Sheela Gowda
  10. ↑ a b Sheela Gowda. In: www.guggenheim.org. Retrieved January 18, 2020 .
  11. ↑ Sheela Gowda. It .. Matters. In: www.lenbachhaus.de. Retrieved January 25, 2020 .
  12. ↑ Vaiju Naravane: Indo-French art exhibition in Paris. In: www.thehindu.com. May 26, 2011, accessed January 18, 2020 .
  13. ↑ a b Sheela Gowda. In: galleryske.com. Retrieved January 17, 2020 .
  14. ↑ Maria Lassnig Prize 2019. In: www.lenbachhaus.de. Retrieved January 17, 2020 .
  15. ↑ Maria Lassnig Prize 2019 for Sheela Gowda. In: WDR. March 19, 2019, accessed January 15, 2020 .
personal data
SURNAME Gowda, Sheela
BRIEF DESCRIPTION Indian artist
DATE OF BIRTH 1957
PLACE OF BIRTH Bhadravati