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JITISH KALLAT
(B. 1974)
Rickshawpolis-4
titled 'rickshawpolis' in English (upper left)
acrylic on canvas with two bronze sculptures
canvas: 178 x 274 cm. (70 x 107 7/8 in.)
each sculpture: 26.7 x 48.3 x 29.2 cm. (10 1/2 x 19 x 11 1/2 in.)
Painted in 2006
Literature
Nature Morte (New Delhi), Bose Pacia (New York), Jitish Kallat-Richshawpolis, New Delhi, India; & New York, USA, 2007 (details illustrated, p. 32; illustrated, p. 33).
Exhibited
New Delhi, India, Nature Morte, Jitish Kallat-Richshawpolis, December 2005.
Milan, Italy, Spazio Piazza Sempione, Jitish Kallat-Richshawpolis, June 2006.
Sydney, Australia, Gallery Barry Keldoulis, Jitish Kallat-Richshawpolis, January 2007.
Sale room notice
Please note that this work is additionally signed and inscribed ' JITISH KALLAT' in English twice; titled and inscribed ' Rickshaw polis-4 100' in English; dated '2006' (on the reverse).

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Lot Essay


Jitish Kallat's series, Rickshawpolis 4 (2005-2007) (Lot 1325) 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 symbolizing 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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