Vivan Sundaram

Vivan Sundaram was born in Simla in 1943. He studied painting at the Faculty of Fine Arts, Baroda (BA Fine, 1965) and at the Slade School, London (Post-Diploma, 1968, on a Commonwealth Scholarship). In London he had the opportunity to meet and learn from R.B. Kitaj. He held his first solo exhibition in New Delhi in 1966 and has had numerous solo exhibitions in New Delhi, Baroda, Bombay, Calcutta, Bangalore, Madras, London, Montreal, Winnipeg and Vancouver Important group shows include Group Exhibition, New Delhi (1 974), Pictorial Space, New Delhi (1 977), Six who declined to show in the Triennale, New Delhi (1 978), Place for People, Bombay (1 98 1), Contemporary Indian Art, Festival of India, London (1982), the Second and Fourth Biennale, Havana (1987 and 199 1), A Critical Difference: Contemporary Art from India, UK (1 993), Rivers cape, Four International Artist Residencies, Cleveland, UK (1 993), the Second Asia-Pacific Triennale of Contemporary Art, Brisbane (1996).

Sundaram is an artist who has been consistent in his pursuit of a politically honed art. Some of his early work from the 1970s, such as the series The Heights of Macchu Picchu, The Discreet Chann of the Bourgeoisie and The Indian Emergency give voice to a constantly reactive subjectivity. During the early 1970s, he was actively involved with the student movement, and worked with activists. This activism later manifested in his involvement with the work of the Safdar Hashmi Memorial Trust (Sahmat), of which he is a founder member and trustee. A keen organizer, he initiated the Kasauli Art Centre in 1976, which has hosted numerous national and international ~ts workshops and theatre productions.

Sundaram's major output of paintings through the 1980s marks his involvement with a historically conscious figuration. One of the interesting dimensions of his work is the excavation of the historical through the painting. Often the historical also manifests as the personal in a situation of asserting a Third World identity and a position of solidarity with the exploited and the working classes. Sundaram's political consciousness has always seized upon the topical, upon the question that needs to be asked. The Gulf War of 1991 occasioned a series of works in engine oil and charcoal on paper. Though the use of unconventional media is not new to Sundaram, this series may be seen as being special in the move towards a more conceptually-oriented practice, that from then onwards, operates increasingly in three, and then four dimensions. In thematic terms, Sundaram's recent work remains concerned with social and environmental protest, and with an 'archaeology' of the recent past. In terms of practice, his interests in the appositional interventions of Dada and Surrealism. a well as such tendencies as Fluxus has led him to constantly reinterpret the role of the artist and the values of authorship and creativity, giving his recent work a strong conceptual content. Several of his recent projects involving the use of photographs, found objects, video and three-dimensional constructs in a variety of materials, are expressly collaborative. His role here becomes that of the arranger, the conductor, a curator in a quasi-archaeological dig that probes identities in the contemporary international context. Some of his recent exhibitions have had the appearance of meticulously presented mini-museums, each one geared to the expression of a set of conceptual meanings that are coded into every detail of the organized space.

Vivan Sundaram lives and works in New Delhi, where he is a Visiting Professor at the Jamia Milia Islamia University.

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Vivan Sundaram
Gateway from Memorial Exhibition
Tin Trunk, Neon Light, Enamel Paint
91" x 86" x 33"

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Vivan Sundaram
House from House/Boat installation, Montreal.
handmade paper, Steel, Glass Video
78" x 78" x 78"

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Vivan Sundaram
The table is laid.
Configura II,Germany.
Wood, Glass Bowl, Milk, Straw Matting, Earthenware with curd, leaf plates with rice.
78" x 156" x 78"