Delhi

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Exhibition

#WIP : The Street Art Show

वर्क इन प्रॉग्रेस शो

WIP was hosted in the unconventional space of Inland Container Depot (ICD-TKD) between Sunday, 31st January and Sunday, 11th March 2016. St+art India, in collaboration with Container Corporation of India (CONCOR,) aimed to activate the same dynamic of the previous shows by reinventing a space unknown to the general public and opening the gate to a hidden and vibrant part of the city.

Spread across 55 acres in Tughlakabad, ICD is the largest dry port in Asia. It is an intense space both for its environmental characteristics and its activities. On a daily basis it handles 2,000 containers and sees 10,000 employees working in the space, making it one of the busiest areas in the city. 31,200 square feet of ICD was transformed into a walk-through installation by using 100 shipping containers, 1,000 liters of paint and 20,000 working hours by 25 national and international artists.

Wip Opening 12 Photo By Akshat Nauriyal
‘Cosmic Egg’ by Agostino Lacurci, 2016 — Rome-based Agostino painted a giant Cosmic Egg, an ancient and universal symbol which is present in almost all cultures, religions and cults. It also alludes to the nature of containers, which like the egg, are somethings that contain but are also contained. (Photos: Akshat Nauriyal, Arjun Bhasin)
‘Bali’ by Amitabh Kumar, 2016 — ICD borders the huge mountain of waste- the Tughlakabad landfill, which had reached full capacity a few years ago and presently stands dead and stagnating. This morbid giant is the inspiration behind the image of the headless beast - just about to collapse. (Photos: Arjun Bhasin, Naman Saraiya)
‘Fruits of Childhood’ by Anpu Varkey, 2016 — This portrait at WIP by Anpu recalled German expressionism and brings forth contents which were deeply intimate in the public realm. She explored and highlighted the thin line between what is private and what is public, especially when interaction between individuals happens in public spaces. This portrait opened up and triggered a personal and intimate dialogue with the viewer based on the childhood of each one of us, exposed to a wide audience. (Photos: Naman Saraiya,)
‘Going Bananas’ by Lek&Sowet, 2016 — French artists Lek & Sowat's installation was a reference to the functional aspect of the containers dealing with banana shipping. The yellow colour used in the hieroglyphic text (sacred writing) dominates the dramatic composition. (Photos: Arjun Bhasin, Akshat Nauriyal)
‘Original Aboriginal’ by Reko Rennie, 2016 — Australian artist Reko explores his aboriginal identity through contemporary mediums and uses geometric patterns to trace his Kamilaroi roots. His installation acted as a gateway into a fortress of containers. Through this piece which was made using 9 containers, he seeks to provoke discussion surrounding Indigenous culture and identity in contemporary urban environments. A massive wooden frame was especially created for Reko's piece and an amazing team of volunteers was continuously assisting him on ground. (Photos: Naman Saraiya)
‘Matruka’ by Inkbrushnme, 2016 — Inkbrushnme painted “Matruka”, which in Sanskrit translates to “The Mother Goddess”. This piece was an attempt to re-introduce the powerful and feminine sides of Brahma, Vishnu and Shiva, namely Brahmini, Vaishnavi and Shakti. The vehicle of this goddess, who can also be perceived as an ancient astronaut, is a hybrid ‘Yali’ consisting of a bull, a lion, shesha (serpent of Vishnu and a swan of Brahma). The goddess also represents the infinite manifestation of time and reminds the viewer of the importance and the power of our female goddesses, who have been recently overshadowed by their male counterparts. She will continue to share her story of divine femininity as the containers travel to different parts of the country. (Photos: Akshat Nauriyal)
‘Contain’ by Ullas Hydoor, 2016 — Created on the Transportation building, located in the thick of the depot, here, Bangalore-based artist Ullas speaks about the workers' lives that revolve around the containers (Photos: Shijo George, Akshat Nauriyal)
‘See Through/See Beyond’ by Nevercrew, 2016 — Made by the Swiss duo Nevercrew, this piece was in connection to a mural they made in the Lodhi art District. The astronaut generates an emphatic effect as the viewer sees the whole space through the mirror in the helmet, while also looking for himself in the astronaut. (Photos: Akshat Nauriyal)
‘Exotic Pictograms’ by Dwa Zeta, 2016 — An artistic duo from Poland, Dwa Zeta’s piece depicts their interpretation of exoticism and how it is viewed from a western perspective. The icons and their connotations show the oversimplification of understanding distant cultures and the laziness of the viewer to deepen the perspective. Elements such as palms, water, sun come together to be somehow broken down, much like the walls we have to break down to get in touch with a different culture and open up new discourses. (Photos: Akshat Nauriyal)
‘Callligraffiti’ by Shoe, 2016 — The first layer is his graffiti tag “Shoe”, the second layer consists of abstract expressionism and the third layer is of calligraffiti. After he used Indian brooms to create the abstract layer, he wrote his own poem that talks about his intense and dense path of life, for the third layer. (Photos: Arjun Bhasin, Naman Saraiya)
‘Mirage’ by Borondo, 2016 — It’s a mirage of all that is possible but is not real. Inspired by the Mysore Palace, his piece highlights the multi-layered contrast between the context of having an experience like the WIP Show at a space like the container depot (which is situated between a slum and a landfill), and the real lives of the people who use that space every day. The workers here deal with a variety of high value products on a daily basis, yet access to these products is far from their reach. Hence the illusion-th[e mirage of the riches. On the inside of the container, Borondo made an installation using common bricks which he painted gold to ironically suggest that the real richness lies in common people who work to provide for the rich. (Photos: Akshat Nauriyal, Naman Saraiya)
‘1 Globe And 11 Alto Cars’ by Gaia, 2016 — Working around the theme of how global warming is a direct consequence of globalisation, American artist Gaia wanted to make a reference to this idea in an Indian context. The Alto produced by Maruti Suzuki is India's top selling car and is a symbol of the burgeoning middle class. The unchecked consumption and pollution caused by it is a massive contributor to green house gases which eventually lead to global warming. (Photos: Akshat Nauriyal)
‘Raja Band’ by Do&Khatra, 2016 — Rasik is a member of Raja Band- a name synonymous with brass bands in India. Here, Indian artists Do & Khatra pay homage to every musician, whether famous or unknown, who still pursues their dream and passion for music. (Photos: Pranav Gohil, Arjun Bhasin)
‘Apsara (Composition 4)’ by Chifumi, 2016 — This artwork is inspired by a dance form that is common in several cultures of Asia, and originating from North India has traveled through South-east Asia to reach Cambodia- where the artist currently resides. Here, Chifumi proposes a personal vision of his journeys and the various cultures he comes across. (Photos: Arjun Bhasin)
‘Banana’ by Painter Shubhu, 2016 — Apart from exterior facades, artworks were also made inside the containers- like this work titled 'Bananas' by Indian sign painter Shabbu. The artwork connects to the fact that these containers were mostly used for shipping bananas all over the country. (Photos: Naman Saraiya)
‘Look Over’ by Lucangelo BT, 2016 — Italian artist Lucangelo has portrayed an elephant with its eyes closed, not wanting to see the present condition of our lives filled with lies, money & exploitation. The third eye urges the viewer to "look over" all the madness and imagine a better world. (Photos: Arjun Bhasin, Akshat Nauriyal)
‘Omnia Videns, Seeing All’ by Senkoe, 2016 — Through this piece, Mexican artist Senkoe talks about the manifestation of the universe among each human being and the need for each one of us to reflect and introspect on the many things we carry within ourselves. (Photos: Akshat Nauriyal)
‘Temple of Graffiti’ by Harsh Raman, 2016 — Believing that street art should be preserved and protected, Indian artist Harsh Raman created a temple of Street Art & Graffiti. For him, street art is a practice that comes from deep meditation, discipline and faith, just as the Sadhu depicted practices. For him street art is a tool that can be used to change people’s lives and is a practice that comes from deep meditation, discipline and faith. The sadhu, who is in deep meditation himself, will continue to spread knowledge about art and will bless all those who are undertaking this artistic journey. (Photos: Pranav Gohil, Naman Saraiya, Akshat Nauriyal)
‘BREATHE’ by Daku, 2016 — This piece by Indian artist Daku involves text painted with a particular black ink made from PM2.5 particles which cause air pollution. Made with special help of students at IIT-Delhi who developed the ink for the work (Photos: Shijo George)
‘The House is Black’ by Nafir, 2016 — Nafir is a self-taught Iranian Artist whose art focuses on social and political issues of his country. In Delhi for the WIP show, his installation offers the viewer an insight on Iran by presenting “Thousand Faces” – inside the container and “House is Black” on the outside. Both works speak about the condition of women in Iran, which he felt was similar to the condition of women in India. Nafir painted his piece as an attempt to give brave women a voice. This is a portrait of Forugh Farrokhzad, the filmmaker of House is Black, which was also the first documentary ever made by a woman in Iran. (Photos: Shijo George)
‘The Revolution will be painted’ by Tyler, 2016 — As a part of the street art movement, Mumbai based artist Tyler believes that art, specifically street art is a tool to be used to create a revolution. This was a take on the iconic statement 'The revolution will be televised'. (Photos: Naman Saraiya, Akshat Nauriyal)

ICD hosts around 10,000 workers on a daily basis. These include truckers, lifters, crane operators, and waste-collectors among others. In ode to their name-less face-less presence and contribution to the city, the project also invited some artists to take over permanent structures- allowing for something to be left behind with the daily inhabitants once the exhibition is over.

‘This is nowhere to go but everywhere’ by Hendrick ECB, 2016 — Feeling that the area lacked a human touch, German artist ECB decided to paint the portrait of a worker of ICD on this 120 ft silo. It is an ode to the unknown and unseen struggle of the rag pickers and truckers of the area. (Photos: Akshat Nauriyal)

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