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Bose Krishnamachari’s solo show in the UK
For his first solo, UK exhibit, noted artist Bose Krishnamachari has come up with a series of new, multi-disciplinary works that deftly explore the psyche of the average Mumbaikars and the society in which they exist.

This exhibition at Aicon London presents his wider practice, confirming him not only as an artist willing to experiment but also a partaker, practitioner in the broader cultural-social discourse. He state that behind the face of the every average Mumbaikar there 'is an ocean of anxieties arising from the everyday question of acceptance'.

The five large-scale portraits from the Mumbaikar series, focusing sharply and enlarging every nuance of feeling and expression, map onto grids the appearance of their subjects, marking down and archiving those intangible emotions and experiences they portray. Those portrayed form part of the household staff from the artist's private residence, acknowledging his own origins (geographical as well as ideological) and recognizing and recording not only their existence, but also their individuality and concerns.

Bose Krishnamachari came to the city of Mumbai more than two decades ago after completing a Diploma in Art at Kerala Kala Peetom, Cochin in 1985. He did his B.F.A. from Sir J. J. School of Art, Mumbai in 1991. Later, he received Masters in Visual Arts at Goldsmiths College, University of London (2000).

Having established himself as a multi-disciplinary artist, Bose Krishnamachari also actively curates exhibitions and projects of fellow artists. He feels strongly about supporting the younger generation of artists, to make inroads in the contemporary art world. His curated shows include ‘Af-fair’, 1X1 Contemporary and 1X1 Gallery, Dubai (2008); ‘Soft Spoken’ NCPA, (2008); ‘Spy’, Museum Art Gallery, Mumbai; ‘MaaRKERS’, Bodhi Art Gallery, Mumbai (2006); ‘DOUBLE-ENDERS’, Jehangir Art Gallery and The Museum Gallery, Mumbai (2005); ‘BOMBAY X 17’, Kashi Art Gallery, Kochi (2004), among others.

As a creator, curator and practitioner of art in various forms and domains, Bose Krishnamachari likes to challenge and defy conventional concepts of visual art practices to set his own norms. In a persistent exploration of a number of themes the idea of archiving or museumisation the interconnection between design and art he worked on 'de-curating' as homage to the peers and seniors whose output he considers crucial to the current status of contemporary Indian art and to his personal art practice.

Among his select solo exhibitions are ‘LaVA (Laboratory of Visual Arts), a traveling installation project (2007); ‘GHOST/ TRANSMEMOIR’ (preview at Kitab Mahal, Mumbai), Aicon Gallery, NY (2006); ‘EXIST’, Jehangir art gallery, Mumbai (2005); ‘Vanitas Vanitatum’, Kashi Art Gallery, Kochi (2004), ‘DE CURATING-India Contemporary Artists’, Sakshi art gallery, Mumbai, Sumukha, Bangalore and Durbar Hall, Kochi (2003); ‘AmUseuM Memoirs’, NGMA, Mumbai (1999), and ‘Field’ Sakshi, Sakshi Gallery (1999).

While the Mumbaikar portraits in his solo show dizzy and embarrass with their giant scale, his intriguing installation ‘GHOST/TRANSMEMOIR' is a 40-feet long work that includes 108 metal cans used by the city's famous delivery men of Tiffin boxes. They deliver home-cooked meals to tens of thousands of office workers every day in Mumbai.

In this compelling creation the lunch boxes are mounted on iron scaffolding and contain LCD monitors. The tangle of wires, hand straps, headphones and metal containers is a play on the indomitable spirit and energy of the people of Mumbai, a city constantly on the move.

Elaborating on his mixed media installation, the artist says, “The LCD monitors kept inside the boxes that project interviews with a range of Mumbai residents —from street vendors to socialites, industrialists and intellectuals, give a kaleidoscopic view of the city and various facets of its life : displacement, joy, dejection, etc. It gives the viewer a different perspective of the city.”

The idea is to capture the city’s chaos and disorder, and a constant battle that involves varied experiences like balancing on the scaffoldings of high-rise buildings and travelling on the omnipresent local trains.

The installation gives viewers a feel of the city life that unfolds as varied experiences, memories of which keep haunting us time and again like ghosts of the past; hence the name of the creation ‘GHOST/TRANSMEMOIR’!

Signaling Bose Krishnamachari’s involvement in the current, international discourse concerning the role of the museum within society is a series of architectural drawings and a maquette depicting an idealized vision of a museum. The artist believes in the traditional ideal of the museum as a repository of knowledge, and that art has an inherent ’intellectual usefulness’, which makes the act of instituting a museum a sacred one, and he is currently designing and building his own museum in Kerala, to house not only his own art collection, but also those of international collectors.