#atul bhalla

[garadinervi]

Walk On. From Richard Long to Janet Cardiff – 40 Years of Art Walking, Art Editions North, The University of Sunderland, Sunderland, 2013 [WALK, University of Sunderland's Walking, Art, Landskip and Knowledge research group, Sunderland. SURE, The University of Sunderland, Sunderland. Peter Foolen Editions, Eindhoven]

Contributors: Cynthia Morrison-Bell, Alistair Robinson, Mike Collier

Artists: Richard Long, Hamish Fulton, Alec Finlay, Marina Abramovic, Chris Drury, Mike Collier, Brian Thompson, Tim Brennan, Tim Robinson, Julian Opie, Bruce Nauman, Melanie Manchot, Richard Wentworth, Francis Alÿs, Janet Cardiff, Atul Bhalla, Simon Pope, Sophie Calle, plan b, Wrights & Sites, Dan Holdsworth, Rachel Reupke. Joe Bateman, Brendan Stuart Burns, Rachael Clewlow, Sarah Cullen, Bradley Davies, Tracy Hannah, James Hugonin, Tim Knowles, Pat Naldi & Wendy Kirkup, Ingrid Pollard, Bryndis Snæbjõrnsdóttir & Mark Wilson, walkwalkwalk, Jeremy Wood, Catherine Yass, Carey Young

Exhibitions: curated by Cynthia Morrison-Bell, Alistair Robinson and Mike Collier of WALK, assisted by Janet Ross, PMG, Pitzhanger Manor Gallery & House, London, March 26 – May 6, 2013; Northern Gallery for Contemporary Art (NGCA), Sunderland, June – August 5, 2013; MAC Birmingham, Midlands Arts Centre, Birmingham, February 8 – March 31, 2014; The Atkinson, Southport, April 12 – August 9, 2014; Plymouth City Art Gallery, Plymouth, September 19 – December 12, 2014

[artcultureretailers]

AUSCULTATION: False Clouds and Real Deluges–I

by Team ACF 

Vadehra Art Gallery presents Auscultation: False Clouds and Real Deluges–I, an exhibition featuring the works by the artist Atul Bhalla.

In this much-awaited solo exhibition titled Auscultation: False Clouds and Real Deluges – I, Bhalla brings us a suite of works partly developed over a year-long expedition along the 28 North Parallel, commissioned by the KHOJ International Artists’ Association and the World Weather Network, supported by the British Council’s Creative Commissions for Climate Action, a global programme exploring climate change through art, science and digital technology – in addition to ongoing projects that cement his oeuvre in the performance of contexts by which human impact on environment, culture and society can be realized. The 28th North Parallel is a latitude that runs across a host of geographical regions and climatic conditions, including Mount Everest and the North Indian Himalayas; Rajasthan; and the Sindh Desert in Pakistan. In an effort to foreground climate change through his practice, Bhalla turned to conjoining images, material and imaginings along the course of these coordinates, particularly where human presence was palpable, as diaristic documents of the weather’s history so as to make propositions about the alarming changes in climate conditions. The show attempts to explore a diagnosis of the world’s now unpredictable extreme weather patterns through a sampling of its meteorology, offering prophetic meditations on an inundated future.

[bossymarmalade]

-  Atul Bhalla, “Leap from Panchganga” (2015)

[lindy-liu]

[harvard-art-museums-photography]

I Was Not Waving But Drowning II, Atul Bhalla, 2005, Harvard Art Museums: Photographs

Harvard Art Museums/Arthur M. Sackler Museum, Purchase through the generosity of Jose M. Soriano © Atul Bhalla, courtesy sepiaEYE Size: 27.94 x 19.05 cm (11 x 7 1/2 in.) Medium: Digital pigment photograph face-mounted to Plexiglas

https://www.harvardartmuseums.org/collections/object/330125

[mia-vienne]

Atul Bhalla

[ciciiliu]

Damien Hirst- Installations/Sculptures

Some of Damien Hirst’s installations/ sculptures that reminded me of Atul Bhalla for some reason. They’re both so strange and mesmerizing at the same time!

[seharmapara]

To fix the climate crisis, we must face up to our imperial past.

Colonialism, motivated by the exploitation of resources and laborers, holds a historical value that has shaped many of the societies that we see today. Without colonialism we wouldn’t have access to the industrialized lifestyle that many of us have now, although our climate would not be in as bad of a state now either. The greed that led many colonizing countries such as the United Kingdom and the United States to capitalize on indigenous resources is the same greed that major corporations are not willing to let go off in order to reduce CO2 emissions today. Back in the 19th century, during the global colonial era, nature wasn’t seen as something two preserve, rather it was seen as something to industrialize and modernize. Historian Corey Ross explains, “Whether the crop is sugar, tobacco, or cotton, the basic pattern is often the same: an initial frenzy of clearing and planting is followed by either a precipitous collapse of production or a gradual process of creeping decline before eventually ending in soil exhaustion, abandonment, and relocation elsewhere.” An example of this was the discovery of Shea Butter by western countries in Africa. Women in Burkina Faso, Nigeria, and Uganda used to locally produce and distribute shea butter for mainly cosmetic use. When this product was discovered by the west in the early 1900’s, local farms were forced to export large amounts of their shea butter without receiving fair compensation. When the economy was in decline and the attraction for shea butter fell, farms were left unattended because of their high costs which led to their deterioration. Eventually the shea butter market picked up internationally and is now a product used by almost every cosmetic brand however in the process, the local farmers faced a lot of exploitation.

Atul Bhalla, an artist focused on commentary regarding environmental issues, was part of an exhibition, RAW: Craft, Commodity, and Capitalism, which explored the historical and contemporary effects of global capitalism. “Their deliberate use of these materials acknowledges the complex and enduring legacy of capitalistic structures, such as slavery, colonialism, and industrialization, and their human and environmental impact.”

December 14th, 2020

[juliakohn]

On Atul Bhalla and Water

Atul Bhalla’s fascination with water really stuck with me. I, too, often fixate on water, but mainly for other reasons. I’ve always been interested in both physics and circles. I remember taking physics in high school and learning about waves—the unit captivated me and heavily influenced my own art. I began drawing wave patterns and optical illusions, and started doing my own research on the tide and its connection to physics to fuel my own personal interest. I also began working with water to alter the way colors looked and to change the texture of the paper I used. As for circles, I am not sure why I am so drawn to them. Maybe because they are fully complete. Maybe because they are, by nature, perfect. Circles are also found in water—when I was younger, I loved to throw things into water just to see the rings that would form.

What I find interesting about my own fixation on water as well as Bhalla’s is how both show just how intersectional and intriguing water is. We both fixate on it for different reasons—mine due to personal fascination and aesthetics, and his due to environmental and social issues. We also both include this interest in our art—I do so by utilizing water physically and integrating wave patterns into my work, and him by depicting items found in water and photographing himself immersed in it to show the environmental and social struggles related to it. It is amazing how one thing can truly have an impact in so many different ways to different people.

Posted 12/11/2020

[bollyywoodnews]

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[travelgraphics]

[Flora] “Alone and Again” by Atul Bhalla http://bit.ly/2EWzLYc

Hey Tumblr. I just started a website that shows off awesome free travel contests. If you're looking to get away from the cold of winter, click here to travel for free!

[priskademetria]

Memory in Both Water and Art: A Response to Atul Bhalla

  Much like with most artists that I first come into contact with, whether it be through a book, a video, a gallery viewing, or a seminar, I try my best to remember who they are with elements of their work- even if my memory isn’t the best. Looking at Bhalla’s work, I thought to myself that I would only remember his work with water and perhaps the photos of himself in potentially dangerous situations. However, this wasn’t the case; what stuck with me even more than just his work were his descriptions of the water, how important it is both in a life spectrum as well as a political one. It shouldn’t be this way, but access to clean, drinkable water has become political in a sense. 

  In his work Wash/Water/Blood seen below....

  Bhalla constructs a representation of intimacy through water and memory. In his discussion, he talked about how when water is taken from a glass where a flower had once stood, the water retains some of the pigment found within the petals. While this seems like a non sequitur, could it be that it reacts the same way to us? To our hands? Even if pigment is not what the water retains, as melanin is difficult to extract with water alone, would it be impossible to believe that humanity’s essence is kept in the water? It’s already been confirmed that DNA (often with saliva or remains of skin) can be kept in water and it’s been used to solve crime countless times; yet, could there be something a little more sentimental to this? 

  Corresponding to the manner we speak of water with, is it just as alive as we are? Perhaps not in a biological definition, because that is completely untrue, but in the most magical definition. In the same manner that we talk about water’s actions mirroring people, can we give it that same personification with memory? I think so. At least, that’s what I think now that I’ve experienced Atul Bhalla’s art.

[shreyaajmani]

On Purpose

Vadehra Art Gallery

Vadehra Art Gallery is pleased to present a group exhibition by some of the most exciting names in contemporary Indian art and literature. The exhibition includes artists Anju Dodiya, Atul Bhalla, Gigi Scaria, Jagannath Panda, K.M. Madhusudhanan, Praneet Soi, Ranbir Kaleka, Shrimanti Saha, Sudhir Patwardhan, Sunil Gupta, Nalini Malani and Ashim Purkayastha and meaningful contributions by writers Jeet Thayil, Nonita Kalra, Shruti Kapur Malhotra, Meena Kandasamy, Janice Pariat, Manju Sara Rajan, Anindita Ghose, Akhil Katyal, Gayatri Rangachari Shah, Anish Gawande, Kabir Jhala and Shreya Ajmani alongside the powerful works, opening up the discourse of a white-cube space to interdisciplinary interventions.

On display from May 27 to July 10, 2023.

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I Was Not Waving But Drowning II, Atul Bhalla, 2005, Harvard Art Museums: Photographs

Harvard Art Museums/Arthur M. Sackler Museum, Purchase through the generosity of Jose M. Soriano © Atul Bhalla, courtesy sepiaEYE Size: 27.94 x 19.05 cm (11 x 7 1/2 in.) Medium: Digital pigment photograph face-mounted to Plexiglas

https://www.harvardartmuseums.org/collections/object/330127

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On Atul Bhalla

Atul Bhalla is an artist that works in all kinds of mediums (aka a gamut) ranging from photography, sculpture, painting, installation, video, and performance. He explores the political significance of water to different environments and the population of his city, New Delhi by using these mediums. His works all explore important topics about water and raises awareness of the importance of conserving and having water. He studies all aspects of water and makes an important point about not wasting it in his artworks. His relationship with water is personal-- having lived and being from New Delhi, he knows how rough it is to gather and have an enough supply of water to provide for all. New Delhi only receives about 17 days of rain a year, not nearly enough to provide 24 hour supplies of water to its citizens. 

I think it is really interesting how Bhalla uses various memories from his childhood as inspirations for his art. Memories and sounds of dropping water can lead to a new creation and installation. An article I enjoyed reading about Bhalla when I did some prior research consisted of him saying in an interview that he had memories of the sound of water hitting a bucket when his family was gathering water, and he created a similar wooden sculpture named “Nothing Reached Home” from that memory. Before knowing the story of the piece, I was mesmerized by the craftsmanship and the various shades of wood in the sculpture. After knowing more about the story, it became even more intriguing to me, and I loved it even more. He creates a lot from his senses and experiences, a value I strive to take from his lecture, and hold on to with my own artworks as well. His experiences very much make who he is as an artist and what he creates. 

I like to connect my personal experiences with my artwork, making pieces that have an overall theme as well as a very personal feel to it. Although people can tell the themes of my work, they usually have a much more personal story to it that needs to be further explained, just like Bhalla. I wish to create more from memory, though-- and I have been doing so by keeping a memory/dream journal where I make tiny sketches of what I have imagine/think about. 

Bhalla’s work reminds me of Lee Bul’s art. Although the two’s art explore topics that are widely different, the two are able to create meaningful pieces inspired by their own experiences and memories. They are both able to create pieces that are focused on one topic, Bhalla being water and Bul being the korean govenment/ questioning the patriarchal society. They use their own personal memories and experiences to further their art, and I think that is really powerful. Their installations are all very weird-looking and one-of-a-kind, and I appreciate that from them. 

I will use my memory to make artwork that speaks to people. I wish for it to be mesmerizing without needing to know the background, like Bhalla, but at the same time also captivating with knowing the background and at the same time not taking away from the original work.

December 7 2020