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CC Special | “These are shrines to my masters”: In conversation with Atul Dodiya

by  Critical Collective

Atul Dodiya speaks to CC’s Amrita Chakravarty and Gayatri Sinha on the occasion of his latest solo, Stammer in the Shade, at VAG Delhi.

Critical Collective: Could you tell us something of the background of your latest show Stammer in the Shade? It seems to resist any neat summation.

Atul

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Girlfriends: French, German, Italian, Egyptian, Santiniketan, Ghatkopar...

by  Gayatri Sinha

Gayatri Sinha: How did this exhibition come about?

Atul Dodiya: At some time in 2002 I had painted three large water colours which were shown in Bombay called My Italian Girlfriends. These were images from the pre-Renaissance masters, I did two works which depicted in profile, pictures of

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Atul Dodiya's 7000 Museums: A Project for the Republic of India

by  Gayatri Sinha

In its embrace of its history, what the Bhau Daji Lad museum has achieved is to draw links between its colonial collection and post-colonial revisitations. Tasneem Zakaria Mehta, as the museum’s Director has set up a template which extends the potential for the theoretical engagement with post-colonial

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Atul Dodiya: A Gargantuan Responsibility

by  Peter Nagy

Published in Broken Branches, Bose Pacia Modern, 17 April - 31 May, 2003

How does one begin to articulate a political art when all around us the political takes on dimensions both monstrous and surreal? It was Andre Breton who claimed that the ultimate surrealistic act was to go out into the street

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A DIALOGUE

by  Bhupen Khakhar and Amit Ambalal

25.9.96

New Jersey

Dear Amit,

Once you decided to pester someone, you don’t give up till you’ve had your way. Even though you knew I was visiting Mumbai for just a couple of days, you phoned me three times to tell me I must go see Atul’s paintings. It is tedious to travel through the crowds

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Dare to Confront so much Reality

by  Fumio Nanjo

Can it really be possible to feel reality this sensitively and live with this awareness? Wouldn’t such a life be too glaringly vivid and accompanied by extreme pain? By this, I am not referring to the tragedy of being caught up in war and experiencing its horrors, but the “intellectual” pain of having

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