JITISH KALLAT (B. 1974)
JITISH KALLAT (B. 1974)

Rickshawpolis

Details
JITISH KALLAT (B. 1974)
Rickshawpolis
acrylic and metallic paint on canvas with bronze sculpture supports
68 x 92 in. (172.7 x 233.7 cm.) canvas; 12¾ x 11 3/8 x 19 in. (32.4 x 28.9 x 48.3 cm.) sculptures each
Executed 2006
3
Provenance
Acquired directly from the artist by the present owner
Literature
Jitish Kallat-Rickshawpolis, Nature Morte and Bose Pacia, 2007, pp. 46-47 (illustrated)
G. Carsley, 'International Review', ArtIndia, Mumbai, Volume XII, Issue I, Quarter I, 2007, p. 106 (illustrated)
Exhibited
New Delhi, India, Nature Morte, Jitish Kallat-Rickshawpolis, December 2005
Milan, Italy, Spazio Piazza Sempione, Jitish Kallat-Rickshawpolis, June 2006
Sydney, Australia, Gallery Barry Keldoulis, Jitish Kallat-Rickshawpolis, January 2007
Sale room notice
Please note this lot should be starred in the catalogue. VAT at a rate of 5 of the hammer price will be added to the hammer price.

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Lot Essay

Jitish Kallat's Rickshawpolis is a visually stunning yet cacophonous homage to his hometown, Mumbai, exemplifying the sensory overload that characterises much of urban contemporary life in India. The motorized rickshaw, comprising the title of the work, is a stalwart symbol of post-Independence India that in effect has been rendered into an old "dinosaur" struggling for survival against the newer sleeker vehicles competing for space and threatening its obsolescence.

'The new Rickshawpolis paintings are vast collision portraits of the thumping, claustrophobic city-street; part of my persistent project to find fresh ways to register the life I see around. Cars, buses, scooters, cycles, cats, cows and humans collide and coalesce to form mega-explosions. These optical jerks caused by the high decibel of daily action can also be read as distorted reflections of a city seen on the dented body of an automobile. The painting itself is mounted on bronze sculptures, re-creations of gargoyles that are found atop the 120 year old Victoria Terminus Building in the centre of Mumbai. The gargoyle, herein symbolising the figure of the bystander artist self, has been a daily witness to this constant calamity of the street running into itself.'
(Interview with Jitish Kallat, www.mattersofart.com/lead7.html, e-zine)
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