CV

Neha Thakar

Herkunft Indien

E-mail nehajthakar@gmail.com

Sprachen Englisch, Gujarati, Hindi, einfaches Deutsch , einfaches Snskrit .

Ausbildungslaufbahn

Diplom in Klangkunst an der HBK, Braunschweig, Deutschland.

M.V.A: 2010 – Gemälde, Fakultät der Bildenden Künste, M.S. Universität von

Baroda, Indien.

B.V.A: 2008 – Gemälde, Fakultät der Bildenden Künste, M.S. Universität von

Baroda, Indien.

Bachelor der Ankommenden: 2001 – Buchhaltung 52%, Süd Gujarat Universität. Indien.

Auszeichnungen & Stipendium

2015-16: „BS Project“ Stipendium, Braunschweig, Deutschland.

2012:“Inlaks Fine arts” Stipendium der Inlake Shiwdashani Stiftung, Indien .

2010-11: "Promising artist” award by Jindal Stills Ltd., Art India magazine, India.

Künstlerresidenzen

2016: N.K.D, Dale, Norwegen

2012-13: "Artist in lab" Eawag Forschungslabor, Zürich, Schweiz.

Ausstellungen

2017:”UPCOMING EMPIRES” Städtische Galerie Wolfsburg.

2017: BRUT, Meisterschüler Ausstellung, Hannover.

2017: VIELE_SOPHEN laden_ein Festival, Braunschweig.

2015: Vad Art Fest, M.S.Uni, Baroda.

2014: FICA Gruppenausstellung von Bhooma Padmanabhan, in der Vadhera

Kunsthalle, Delhi.

2013: “Something Relates to The Process” Filmvorführung, Einzelprojekt für eine

Woche, Plateau der Galerie Genscher, Hamburg, Deutschland.

 

work at art & ecology , Utsha foundation

works done during residency at Hamburg

at Jodhpur, British council residency program

DISSOLVING BOUNDARIES  (2009)

This work was installed at one of the windows of Rani vaas during British Council Residency.

The Ice was used as a potential medium. The core idea behind this work was to play with the view of windows and door, appearing and disappearing wall, species and cultural boundaries within the fort of the Royal legacy.

'Material & description'

project with Sandeep Joshi at faculty of fine arts M.S.U Baroda.

Interpreting Vishwamitri

                                                                                                            Sandeep Joshi, MVA II,                                                                                                        Art History and Aesthetics                                                                                                                                            

The initial idea for the project came with the possibilities of representations of Vishwamitri River and Vishwamitri Riverfront Project. The cleaning of Vishwamitri and the developing of the bank has been undertaken as a river front project for Vishwamitri in Baroda. While wandering in the city we come across the river which is very obvious as it flows through Vadodara, and has become the drainage of city’s dirt and impurities from nearby industries. It is not only a responsibility of civic body, but also a duty of citizens to take initiatives to make it free from sewages. Though the declaration of Riverfront Project and beautification of the banks was very pleasing for Barodians but its implementation is still in question.

While documenting and interviewing the citizens of different generations, it has been found that there is nothing inspirational about the river for them. The river was in the same situation as it is now except while floods. But inspiration can never be the solitary factor for the artist or spectator for representation or viewership, the curiosity can also stand for one of the reasons, for insistence to enquire about the particular thing. While talking about the present river without associating historical references, poetry and myths which is always associated with the water body, what strip of water we are watching now is only the ‘idea’ of river which is transformed from generation to generation, in actuality that form does not possess any characteristic of the river. There is the ‘trace’ of the river, the presence in its idea and absence in its physical form.

Apart from all these Vishwamitri is not merely a river but it has its roots in the well defined culture of Baroda. It is not only a part of geography but a culture whether one notices or ignores, it remains there till its impending death. Any artist as a resident of Baroda has his/her own observation of his/her surroundings and expression for every social and political happening and ecological evolutions around and their art becomes a tool to react or to represent the subject; re-present the idea or sensation through the depiction. Artists always have been individuals and members of groups living in societies, who are involved in definite social relations that enable, regulate, and limit their work in economic and political terms. With the encouragement of all these artists this curatorial project is an attempt to represent and interpret the Vishwamitri  in varied possible dimensions without being conclusive because of the possibilities of multiplicity of interpretations. 

Impression

Black Apples, I have tried to relate with popular symbolism' Apple fruit of Passion & Desire'. I have subverted that notion and contextualized it for the relationships of the new generation and big race for materialistic achievements.

SNIFF & STIGMATA

MEDIUM: BURETTE, GLASS TRAY, UNBAKED BRICK, WATER,LIGHT 
As I have made a brief study on this topic. How the idol of Durga is prepared for the festival, it seems it is a custom, that the dust (mud) of the prostitute's veranda is taken and mixed into the clay.

This act itself is a dialog of the two polarities & their dogma's in the society.

For me, as an artist, the smell which comes out of the clay brick (unbaked) in this work is trying to relate to those dialog, which happens once in a year.

The unbaked brick and its transformation over a span of time is representing the soil of the prostitute area in Calcutta( said to be the 2nd largest red light area in India)
water droplets over the clay brick is representing the connection between the two poles, as mass is providing the life surviving  element to them.

And the glass as a material justifies the observation of seen and unseen reality