Shadowboxing, Shahid Datawala
Humpty Dumpty sat on a wall.
Humpty Dumpty had a great fall.
All the king’s horses and all the king’s men
Couldn’t put Humpty back together again.
One cannot help but think how the above quoted 19th century nursery rhyme would play out to the found sounds of hauntologically inclined musicians such as Burial, Junior Boys and Mordant Air. With just the right amount of dubstep, this rhyme could be the orbit on which every construction site drama in Bombay pivots.
With Shadowboxing, Shahid Datawala finds himself delving into the pith of Bombay’s schizophrenic architectural agglomerations. He binds the unrehearsed melancholy of modern ruins with the girth of the much accessorised, nouveau riche building projects. With this juxtaposition he decidedly sidesteps the clutches of impecunious nostalgia and barrels straight into the terrain of hauntology.
– Gitanjali Dang, 2008
ECHOES (from Indian Ocean), Malala Andrialavidrazana: The Indian Ocean, which covers approximately 75 million square kilometres between Africa, Asia and Australia, typically conjures up images of exotic landscapes, poverty and other extremes. In her work, the photographer moves far away from such simplistic notions of place. She enters private interiors, connects with local communities, and presents the viewer with the multiple and nuanced realities of each location, through still-lives and fragmented portraits.
Budapest, Anne Maniglier: “In 2002 I travelled to Budapest, Hungary; I usually work in color, but the city and its strong historical link to photography urged me to work in black and white. Hungarian photography has made a great contribution to the history of photography transforming it into art that exceeds a documentary function. Hungarian photographers have always been very poetic and there has always been a touch of the fantastic in their work; they were not trying to show an “objective” reality but rather being very original and personal, letting their imagination and emotion create a new form of expression.
Inspired by Hungarian photographers, I was willing to escape conventionality. I did not want to talk about the city itself, but instead use photography as a tool to express an intensity that is positive and negative; to use the technical manner and create a black and white feel that is very dark, thick, chaotic, and grounded. I found myself looking at the pavement, absorbing the urban scenery through its reflection on the ground. The city unfolded to me in a distorted, fragmented way. The photos shifted from darkness to light or from light to darkness; perhaps a metaphor for expressing the end of a time, and the beginning of a new one”.
Cheval Bar & Restaurant
145 Mahatma Gandhi Road, Above Khyber, Opp. Rhythm House, Kala Ghoda, Fort
022 4039 6638
Dates and Timings
Wednesday, March 13 to Wednesday, March 27
Opening hours: Daily, 12 noon – 1.30am