My immediate thought upon encountering Salman Toor’s works at his first solo exhibition in Nature Morte, New Delhi, held from the 16th of December to the 4th of January, was, “How pretty!” ‘Pretty’ of course acquires a special ring in the context of queer aesthetics. It reclaims shallowness as a field of intensified affect like an artificial diamond decorating the décolletage of a drag queen, catching and multiplying the jubilant glory of the wearer in its faux depths. ‘Pretty’ packs all the pith and poetry of an emoticon. What might otherwise come across as kitschy, in the hands of Toor transforms into self-aware camp, or a loving assemblage of styles from the past that become crucial in issuing queer subjectivities and aesthetics. ‘Pretty’ thus, despite its light application, forms the mainstream of queer desire and subjective validation. To say that Toor’s works are pretty, is then to summon a wealth of delicate queer feelings hid under the appropriated superficiality of the moniker. And it is with a coterie of bubbling emotions and the knowledge of secret joys that a queer gaze grazes the textures of Toor’s plushily rendered turtle necks, denims and vintage jackets enwrapping the languid bodies of his subjects nursing stolen moments of same-sex intimacy.
Denne historien er fra January 2020-utgaven av Art India.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra January 2020-utgaven av Art India.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Parts, Wholes And The Spaces In Between
Sonal Sundararajan introduces Samira Rathod's free-spirited and rebellious explorations in the world of architecture, furniture and design.
"The Fine Art of Going to the Pictures."
Dr. Banerjee in Dr. Kulkarni's Nursing Home at Chemould Prescott Road brings together 26 paintings featuring a series of dramatic scenes from Hindi and Bengali films. In conversation with Abhay Sardesai, artist Atul Dodiya talks about childhood trips to movie halls, painted figures gripped by tension, and the closeness and remoteness of cinematic images.
"To Finally Have Something of Your Own to Mine."
Dayanita Singh is the recipient of the coveted 2022 Hasselblad Award. Keeping the photograph at the centre, she speaks to Shreevatsa Nevatia about books, book objects, photo novels, exhibitions and museums.
OF DIVINE LOSS
Shaurya Kumar explores the relationship between the subject and object of devotion, finds Aranya.
THE PAST AND ITS SHADOWS
Neha Mitra visits two shows and three artists in Mumbai.
FORCE OF NATURE
Alwar Balasubramaniam dwells on absences and ephemeralities in his new work, states Meera Menezes.
SHAPES OF WATER
Devika Sundar's works delineate the murky, malleable boundaries between the human body and the organic world, says Joshua Muyiwa.
INTIMATIONS OF INTIMACY
Sunil Gupta shares his journey with Gautami Reddy.
THE FRACTURED PROSPECT
Nocturnal landscapes as ruins in the making? Adwait Singh looks at Biraaj Dodiya's scenes of loss.
TEETERING BEYOND OUR GRASP
Meera Menezes traces Mahesh Baliga's journey from Moodabidri to London.