Category Archives: PRESS

After Midnight reviewed in New York Times

Indian Artists Look Westward, and Homeward, at the Queens Museum

–Holland Cotter
June 4, 2015

“More surprisingly, much subtler quasi-architectural pieces by the New York-based Conceptualist Sreshta Rit Premnath work here, too. One has life-size photographic images of sleeping migrant workers pressed behind sheets of industrial plastic; another is composed of aluminum tubing, measuring tapes and what look like carpets of molded sand. Both make smart use of an under-construction aesthetic to bring the museum itself into a larger story about globalism as a force at once accommodating and crushing.”

Full Review: PDF

After Midnight reviewed in Wall Street Journal

‘After Midnight: Indian Modernism to Contemporary India, 1947/1997’ Review

By MICHAEL FITZGERALD

“The Queens Museum is perfectly positioned to reflect this development. Its location on the grounds of the 1939-40 and 1964-65 World’s Fairs next to the landmark Unisphere makes it a paradigm of globalism, past and present. Sreshta Rit Premnath highlights this issue in “Projections (1964/2014)” (2015), a photo mural that interweaves a view of the Indian Pavilion at the World’s Fair with an advertising billboard for a residential complex that boasts “New York Living in Bangalore.”

Full Review:PDF

The Capricious Sky / Group Zero (1964)

Organized by Whitney-Lauder Curatorial Fellow Liz Park
The original text appeared here.

It is with great sadness that we hear of the passing of Otto Piene on July 17, 2014. We are grateful to have had the recent opportunity to interview Mr. Piene about the historic exhibition that he organized at ICA fifty years ago.

ICA@50 ends with a reverse countdown to the organization’s very beginnings: the “zero zone” described by Otto Piene as a “zone of silence and pure possibilities for a new beginning.” A film by Korean artist Jeamin Cha accompanies this archival reflection on ICA’s Group ZERO exhibition.

A small catalogue and a few photographs are all that remain in the files for the historic Group ZERO exhibition at ICA. In an effort to rebuild the institute’s archive, I visited Otto Piene (b. 1928, Baad Laasphe, Germany; lives Groton, Massachusetts) at his residence to speak with him about his experience of organizing the show fifty years ago at the fledgling art museum. This interview is available for viewing in the gallery and on ICA’s website where select clips act as prompts for a collaborative text written with the artist Sreshta Rit Premnath (b. 1979, Bangalore, India; lives New York). Artist and editor of Shifter magazine, Premnath recently presented a solo exhibition Knot Not Nought, which explored the concept of the zero knot in mathematical, poetic, and philosophical terms. On view in the following pages, the text explores how Group ZERO’s and Piene’s interests remain relevant today.

————

Without Ground

Otto Piene: One day in May, World War II—although no one wanted to believe it—was over… Most of my contemporaries didn’t think we would survive the war… My friends said artists should stay away from politics. After World War II, no more politics ever! Well, that’s not the way it goes.

Liz Park: Drawing from my own biography, it seems that war is a persistent state of mind. Coming from Korea, a divided state in armistice, I, like many other Koreans both in Korea itself and in diasporic communities throughout the world, have had to live with the threat of active conflict. Whether or not we directly engage with politics through activism or cultural expression, we always bear the war in our psyche.

Sreshta Rit Premnath: I don’t think that this state of perpetual war is purely psychological. Having lived in the US for over fifteen years now, I find myself in a country that is constantly at war elsewhere. In such a situation, inaction is tantamount to our complicity with war at a distance. These wars are fought because of American “interests” in other countries, and we cannot opt out of global politics. We are bound to the factory worker in China through our cellphones, the textile worker in Bangladesh through our clothes, and the oil-worker in Iraq through our cars. Inaction stems from two sources: the first is our inability to feel the violence of war at a distance; the second is a deep disenchantment with the democratic process that leaves the electorate feeling powerless and apathetic.

Visual art, and cultural production in general, may either function as a barometer of the psychological state of a society, or as the progressive force which serves as a harbinger of cultural transformation. Assuming that we are not satisfied with the former–reflected in contemporary art that simply guesses or follows fashions–how do we envision the artist’s political role?

LP: Let’s not forget the shifting scale of culture and politics. The introspection of a young soldier during World War II is an example of how world-scale conflicts and politics leave a real imprint on individuals on the ground. When it feels like that ground is pulled out from beneath us, we begin to question the arbitrary and unstable nature of the construction of our society, and of nation-states in general. One of the ways we can ground ourselves again is to construct a space of our own (real or virtual) in which to take refuge, even if only temporarily. Maybe that is the impulse behind the work of Otto Piene’s generation of artists.

If we look beyond the immediate safety of our home here in the United States, the world is not any less violent today than during World War II. We have sophisticated means of distancing ourselves from the violence; and disenchantment with the democratic process, as you say, is rampant. The overwhelming sense of despair, however, should not automatically lead to apathy. When it feels like we’re being dwarfed by something entirely out of our control, like the large expanse of the sky, should we not shift our gaze towards the grains of sand at our feet?

Artists are tricksters of perception. They can make us look hard: here, there, and elsewhere. The practice of looking itself should be coupled with the practice of questioning our own perception, so we can look at the details and zoom out simultaneously. Maybe then we will be able to appreciate the immensity of the ground and the sky without feeling paralyzed.

Without Sky

OP: If you’re a young 15-year-old flack soldier, you spend a lot of time staring at the sky… As the sky became the field of dread and threat, it also revealed its incredible beauty… The sky is so beautiful that it’s overpowering even in the dread and the threat of war…

SRP: Liz, your feeling that Otto Piene and his contemporaries had to reinvent a ground from which to work pinpoints the importance of the sky for them. The sublime experience that Piene recounts, of looking at the sky, would provide a way out of the political particularity of where–or on whose ground–one is standing. By surrendering oneself to light and to the sky stretching over land and water, oblivious of the boundaries of nation-states, the artist finds a zero point from which to begin. However, it seems to have been important to Piene, and it certainly is for me, that this sublime invocation of zero not elide or conceal politics.  

I am echoing your desire to practice looking while also being mindful of how one looks. Piene’s absorption in the sky is always disturbed by the threat of bombers. What I wonder is how to use the sky to mobilize my political sentiments. Is it possible to feel the threat of drones while sitting in New York City?

LP: I am skeptical of the mobilization of the sky in global politics. Recalling past conversations I have had with you and many others about the commodification of air space in New York City, and Amazon.com’s attempts to make drone delivery a reality in the near future, it seems, by no stretch of imagination, that the sky is the new frontier in late capitalism, and that economic interests will motivate intense political battles over air space. The sublime and transcendent beauty of the sky can be so easily instrumentalized by people on any side of the political spectrum, so the question of how to use the sky to mobilize your political sentiments, which I assume are much aligned with mine, feels urgent.

SRP: We have already grown accustomed to aerial advertisements interrupting our enchantment with the sky. Proposals for moon publicity may some day become a reality, at which time even our “heavenly bodies” would be reduced to surfaces that promote our profit-driven world.  

What if we think of the sky not as the space above our heads but, instead, as that which lies beyond? The sky is the literal emptiness that fills the universe, stretching between stars and within atoms. Our recognition of the sky in this sense would give rise to the fundamental question of metaphysics, stated by Heidegger as: “Why are there beings instead of nothing?” Could an engagement with the world that transcends worldly problems establish a new politics of consciousness and attention? Or, are metaphysical considerations incompatible with political life?

LP: I would like to hold fast to the idea that metaphysical reflections ought to make us question the fundamental nature of being, not so we can equate transcendence with escapism, but so that we can become better grounded in our own reality. If we think of the sky as that which lies beyond, then the ground is that which is within. One cannot exist without the other, and both are equally expansive spaces of exploration and questioning.

Without Form

LP: Many of Piene’s works such as the light ballet performances and sky art events evoke the space somewhere between the ground and the sky, making use of that space as a medium of suspension.

OP: The balloon as a border-defying, innocent, lightweight, lighter-than-air thing took on a slightly political role in all of this.

SRP: I would like to think of the balloon as empty space given a temporary form. The border that Piene speaks about could then refer to both the terrestrial boundary that this floating orb adamantly ignores, and also the subtle skin that separates the inside and the outside of the balloon.

LP: As a symbolic object, the balloon epitomizes the transcendence of man-made borders. Perhaps like a message in a bottle, it’s a proposition to an unknown receiver. It can be so rife with symbolism and interpretation that I think at a certain point we also need to acknowledge that a balloon is just a balloon.

As a physical form, the balloon is the thin membrane as well as the spaces within and without. Therefore besides being a discrete object, it points to an ecology of invisible forces that hold and embrace it. These forces sway us this way and that, much as they sway the balloon.

This discussion makes me mindful of the porosity of my skin and the perviousness of my being. We can look at this permeability of boundaries politically. Circling back to the beginning of our conversation, we are connected to those far away from us to whom we owe our material comfort–our computers, phones, clothes, cars, etc.

SRP: Perhaps it’s the sensitivity of the membrane that mediates the inside and the outside that counts. The co-constitutive zones of the personal and the political must be nurtured by remaining receptive, like a weather balloon, to relations with distant others. However, I don’t think we need to dispense with the metaphysical connotations of the balloon in order to engage with its political metaphors. While the balloon is a literal means of dispersing information, whether it be political fliers or advertisements, it is also a metaphor for the social forces that shape us. And finally, the balloon as a work of art allows us to consider being itself, floating untethered by material and social constraints.

Preview in Time Out Bengaluru

STRAYING AROUND
by Akhila Seetharaman
July 05 2013


Photo by Selvaprakash L

Sreshta Rit Premnath’s art is dense with cues, both visual and verbal, finds Time Out

It all began with a phrase, “let sleeping dogs lie” and so, on a walk home late one night in Sanjay Nagar, artist Sreshta Rit Premnath found himself filming sleeping dogs. At the time, Premnath was engaged in another project. One that took as its point of departure the late industrialist MS Ramaiah’s belief that he could defy death by constant construction. “I didn’t know what to do with them but there was something about them that interested me,” said Premnath, who lives in New York city but returns to Bangalore, the city he grew up in, intermittently. The videos of dogs didn’t make it to the exhibition titled The Last Image held in Chicago in 2012 but they stayed with him nevertheless.

Premnath found himself pondering the fact that Ramaiah had thought of building as his activity when in fact labourers were doing the building. “In the imagery of development, whose labour is symbolically subsumed and by whom? How do we, the citizens – who think of Bangalore as developing, as opposed to the people building the city – make the body of the labourer disappear?” asked Premnath. He hadn’t forgotten the sleeping dogs either, which to him were potent images. “They have no claim, no space, except for the space they occupy in the moment. The moment is both peaceful and full of threat. Anybody can throw a rock any time.” Mesmerising videos of the dogs occupying just the space taken up by their bodies are part of his latest show, titled Plot, that opens at GALLERYSKE this fortnight.Premnath’s creative process usually begins with a word or title and proceeds with both the words and the work unravelling simultaneously, informing each other along the way. “For me the word ‘plot’ has different registers of meaning. It’s a plot of land you build on or private property, plot or a narrative, but also the plot as the body, as in the case of the sleeping dog. And finally, the plot where one is buried or burnt. Everything is reduced to the boundary of the body.”

In his previous show, Folding Rulers, held at the Contemporary Arts Museum in St Louis last year, Premnath used images of sandboxes to depict shifting forms of portraits, reminiscent of fallen dictators in the Middle East. “The sandbox and measuring rulers leaves traces, almost like memories,” said Premnath, a quality that led him to employ sandboxes again in Plot, but this time in 6ft-long boxes resembling coffins. Rulers leave markings on the sand – traces, measurements, indicating experience and the absence of what was once there.Premnath’s works are a result of the commingling of three distinct threads of interest. Preceding everything for him is the question of his own political position in the world, as an artist and as a human being. Then follows the question of form, how an image is made and the history of image-making. As an undergraduate art student in the US in the early 2000s, Premnath found himself questioning the hegemony of a western art history, a line of inquiry that led him to question everything including canvas and oil paints. “Everything felt like a political decision because I was identifying with a certain history of making,” he said. He deliberately chose non-art materials such as soap, spices and pages torn from an atlas, a practice he continues. His new show uses flex, a material used on advertising billboards. Premnath’s work is built on a philosophical line of questioning triggered by Ludwig Wittgenstein’s analytical forays into language and experience. In his book Remarks on Colour, Wittgenstein asks whether there’s a point at which the colour red becomes orange, or orange becomes yellow, or whether this happens only in moments of relationship. “The word and the concept aren’t separate. You can’t even say that you have a perception and then you try and find a concept for it because it happens simultaneously and always in relation to other things,” said Premnath, who tries to think about other concepts like absence or freedom in the same way. “For me the idea of absence in the case of death, for instance, feels more like a moment in a series, rather than a finality.”

Premnath’s solo show opens at GALLERYSKE on Sat July 13.

5 Questions for Contemporary Practice on Art 21

By Thom Donovan.

Sreshta Rit Premnath. “Blue Book, Moon Rock,” 2009. Multiple media. Dimensions variable.

Sreshta Rit Premnath’s over-arching project involves an investigation of scientific, philosophical, and aesthetic discourses in terms of the ways these discourses construct and dissemble our sense of the real. In Blue Book, Moon Rock, for instance, are arrayed multiple systems of measure and representation. One sees a sheet of paper on which is depicted a photograph of a moon-rock. Above the moon-rock is a measuring stick. In another document from the installation, one encounters a page from Wittgenstein’s “Blue Book” (one of the many philosophical journals the philosopher kept) entirely blacked-out except for the sentence: “We ought to talk further on about the meaning of ‘forgetting the meaning of the word.’” Following Wittgenstein, Premnath’s aesthetic universe provides his viewer with a vantage of the world from multiple “language games” (Wittgenstein’s term for particular modes of discourse), foregrounding the contradictions and dilemmas produced through this shifting vantage. (The journal Premnath has edited since 2006 appropriately enough is called Shifter, taking its name from linguist Roman Jakobson’s term for grammatical elements that help to establish a context for utterance, such as personal pronouns).
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Mosaics of the East From the Met to San Francisco

By HOLLAND COTTER

Published: September 15, 2011

“Several young Indian artists will be appearing in a California show called “The Matter Within: New Contemporary Art of India,” opening Oct. 15 at Yerba Buena Center for the Arts in San Francisco.

From the sound of it the show should give a fair sense of what’s cooking in the extremely lively and diffuse South Asian and South-Asian-abroad scene. Although several established artists are included, others — Nikhil Chopra, Siddhartha Kararwal, Dhruv Malhotra, Sreshta Rit Premnath, Tejal Shah, the duo Jiten Thukral and Sumir Tagra, and the Otolith Group — are on their way to being international names.”

Heres a link to the whole article.

La “Ricerca” di Sreshta Rit Premnath on Exibart

http://www.exibart.com/notizia.asp?IDNotizia=35744&IDCategoria=1

published July 15 2011

English Version:

Tell us your history. How you started?

I was born in Bangalore, India in 1979. My mother is an ecologist, my father is an acoustic engineer and I studied in a school founded by the philosopher J. Krishnamurti. I think this particular combination has contributed to an analytical bent in my art practice.
In 1998, after high-school I moved to the US to study art. I moved to New York City about six year ago to complete my Master’s degree at Bard College and attend the Whitney Independent Study Program.

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“Ambiguities of The Symbol” in The Deccan Herald

Ambiguities of the symbol

Marta Jakimowicz

Sreshta Rit Premnath’s exhibition “Leo (procedures in search of an original index)” (Galleryske, November 22 to December 4) focuses on metamorphoses of the lion as a symbol of power through its varied recurrence in historical and cultural contexts, its direct examination revealing a confusing, contradictory propensity to support as well as undermine its intention.

The show oscillates between visual evocativeness and sensation as much as conceptual occasionally hermetic, strategies, some necessitating explanation if one is not familiar with American circumstances or technical references.
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“Lions in Bangalore” by Janice Pariat

LIONS IN BANGALORE

by Janice Pariat

As Shobha De so succinctly put it in a recent article in the Bombay Times, “Symbols are not instant coffee.” While this glam queen was referring to the new – and improved? – Indian Rupee symbol, we can safely say that in general, symbols take time to evolve, whether nationally or cross-culturally. Sreshta Rit Premnath ‘s show titled “LEO” explores and at the same time deconstructs the symbol of the lion – that grand old animal that forever lives (and falsely so) in our imagination as the king of the jungle.

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Leo previewed in Time Out Bengaluru

BEAST A MAN CAN GET

A new show investigates how the lion has slipped into our general consciousness and perhaps lost its majestic associations, says Jaideep Sen.

While researching the lion, and its use as a symbol of power and authority, Sreshta Rit Premnath stumbled upon some intriguing trivia. For instance, “In the early maps by Romans, areas that were unmapped would be indicated with the symbol of a dragon,” he recounted. “When the British started mapping the colonial world, they replaced those unmapped spaces with the words, ‘There be lions’.”

For his new solo show – titled LEO – at GALLERYSKE, the 30-year-old New York-based artist began to look at the many associations that the lion has come to assume over the years. As the numbers of the big cat in the world – of both of its two largest populations: the Asiatic and the sub-Saharan species – have dwindled to a few hundred, Premnath sought to explore the manner in which it has come to assume a solemn, and silent, presence in urban society, as elements in design and architecture that may well seem commonplace.

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Aspect Blindness: Arnold Kemp and Sreshta Rit Premnath by Thom Donovan

http://blog.art21.org/2010/09/07/aspect-blindness-arnold-kemp-and-sreshta-rit-premnath/

September 7th, 2010 by Thom Donovan on the Art:21 Blog

This past week I received two packages in the mail. The first was from Arnold Kemp, who is an artist, curator, and teacher and currently directs the Visual Studies Program at Pacific Northwest College of Art in Portland. The second was from Sreshta Rit Premnath, an artist, writer, and curator, with whom I have been collaborating to construct an archive of video materials dedicated to the future anterior (the French conditional tense for what “will have been”). In both packages, I saw an affinity among the printed materials, all of which have to do with certain aporias of historical representation, cultural encounter, and aesthetic mediation.

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Spectral Evidence – critic’s pick on Artforum.com

Spectral Evidence
by Doretta Lau

1A SPACE
Unit 14,Cattle Depot Artists Village,, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon,
July 15–September 5

View of “Spectral Evidence,” 2010.

“Spectral Evidence,” the first of two exhibitions curated by Steven Lam at 1a Space, features works by Lin + Lam, Sreshta Rit Premnath, and Simon Leung. The pieces in the exhibition use the media, materials, and language of documentation to create narratives that provoke us to question how we perceive the world. Premnath’s Horizon (all works cited 2010) is a group of photographs depicting various monuments to Christopher Columbus, but the statues themselves have been removed from the images, leaving only the pedestals. Alongside these altered pictures is a faux granite tablet bearing a line from the explorer’s journal that highlights the oft-present gulf between belief and reality: WE WENT SOUTH WEST UNTIL WE LEARNED THAT WHAT WE HAD THOUGHT WAS LAND WAS ONLY THE SKY.
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Spectral Evidence on ArtSlant

Spectral Narrative in Hong Kong by Robin Peckham

Spectral Evidence
1a Space
Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Rd., To Kwa Wan, Kowloon, Hong Kong, China
July 15, 2010 – September 5, 2010

For its inaugural curatorial residency, 1a Space has invited Steven Lam, New York-based artist, curator, and educator affiliated with with both Cooper Union and the School of Visual Arts, to produce the first of two exhibitions: “Spectral Evidence,” which takes as its theoretical foundation the titular odd legal category first utilized in the seventeenth-century Salem witch trials and later picked up in theoretical texts on the Derridean concepts of haunting and the trace and Avery Gordon’s concept of ghostly presence. The idea certainly resonates in Hong Kong, where evidence of haunting due to violent death constitutes legal grounds for breaking property leases and where a major local artist, Adrian Wong, once turned a lengthy process of exorcism into an extensive project in the wake of a series of supernatural mishaps. Fortunately, Lam does not set out with such a literal interpretation of the context, instead working with two artists and an artist collective to construct narratives of forced migration, disappearing histories, and colonial power.
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“The spectacle of power” in Bangalore Mirror

Nalini S Malaviya
Posted On Sunday, June 06, 2010 at 06:17:56 PM

The international art fair for modern and contemporary works, Art 41 Basel kicks off on June 16, and Galleryske from Bangalore will be making its debut there with Zero Knot, an installation and publication by artist Sreshta Premnath. The first Indian gallery to be accepted at Frieze Art Fair, London, Galleryske has established itself firmly amongst the top few art galleries in the country. Sunitha Kumar Emmart from Galleryske explains, “what we want is to nurture and develop art practices that are rigorous, and taking part in a fair like Art Basel creates a platform for us to further share the works of the artists we represent.”

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“Moment as Monument” reviewed in The Hindu, New Delhi

Capturing The Present Moment Through Art
-Madhur Tankha
Aug 19, 2009

…The concept of “moment” implies sequentially, before and after. The criterion of isolating one moment from another is marked by intensity — of a political nature, for example, in Rit Premnath’s “Surrender,” a photograph of Somali pirates buzzed by a U.S. Navy helicopter. Cropped and re-framed as a triptych, the singularity of the scene assumes the quality of a cinematic event…
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“Blue Book, Moon Rock” in Art India

Premnath’s Blue Book, Moon Rock, featured a photograph of a shadowy moon rock, a chalkboard, a screen print of the moon and a light projector. Propped on a wall, each object reavealed a different aspect of man’s relationship with the moon. The dusty blackboard reminded us of science projects at primary school, while the fraying photograph recalled old magazine articles celebrating America’s triumph in getting the first man onto the moon. These rational readings give way to more mysterious ones as we approached the shifting light cast by the projector onto softly gleaming silver-sprayed acetate. Was Premnath recreating the bewitching effects of moonlight?
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Noah Marcel Sudarsky on “Blue Book, Moon Rock”

Artscape Magazine – Issue 01, June ’09
ALL THE ART THAT’S FIT 
TO DRINK
by Noah Marcel Sudarsky
NEW YORK, APRIL 2009

“Finally, I’d like to suggest that while the symbolic and dialectical mounting stratgies identified by Rancière are still the two dominant con ceptual vectors in fine art, there is a third possible editing strategy, the elliptical. Sreshta Rit Premnath’s Blue Book, Moon Rock (2009) in stallation at Thomas Erben Gallery is a testament to that third path, which is perhaps the most distinctly contemporary, or even avant- garde, of the three. Referencing Wittgenstein, Premnath juxtaposes various materials and mediums representing an aspect of the lunar landings, which don’t collate in a symbolic vein to create meaning or clash in any heterogeneous dialectical sense. He thus combines a photograph of a moon rock, a chalk board, a screen print, and the light from a reeling projector on to silver sprayed acetate which evokes a kind of shimmering, unknow able cosmological constant. The rock is re- imagined by the versatile parade of overlapping media, suggest ing both the original, heroic impulse which brought us to defy our stratospheric limitations and reach into space, and the prosaic reality of the inevitably disappointing mineral manifestation which was returned to us. But really, Premnath isn’t making any point at all, merely hinting at the inherent, cosmic paradox that is life.”

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Review in ‘Canadian Art’

“Bangalore-born, New York–based artist Sreshta Premnath offers a different way of working with images in his series Freedom of the Seas. Four digital prints show cruise ships, often sinking ones, from multiple perspectives. Premnath’s choice to work with the cruise ships is a wise one—it evokes a site of mobile physical geography but static social geography, a context relevant to migrating workers and holidaying tourists worldwide.”
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Back, Forth and Round About

By David Rothenberg.

Published at Evil Monito

“Sreshta Rit Premnath’s (b. 1979, Bangalore) fastidiously intricate, yet low-fi installation Blue Book, Moon Rock incorporates variations of a photograph of a “Moon Rock” that shifts meaning through competing forces within his installation. A reproduction of a page from Wittgenstein’s Blue Book is displayed, with lined out text that frames the only remaining passage “We ought to talk further on about the meaning of ‘forgetting the meaning of a word’”. The quote threads the installation in which a meticulous, looping narrative of (and about) constructs of meaning unfolds.”
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To ‘Err’ Is Perfect: A Perfect Human at Dorsch Gallery

ARTLURKER.COM
Monday, February 16, 2009
By David Rohn

“In the middle of this room is a rather simple/elegantly constructed cut-out of a human figure entitled ‘Green Screen’ by Sreshta Premnath . The negative space is suspended by a frame while the actual figure is defined by the cutting; umbilically attached to the fabric it drapes across the floor. Perfection, as in e perfect proportion of the Ancient Greek and Renaissance concern is what comes to mind. The figure being as it is still attached to the fabric from which it is (mostly) cut, the negative(silhouette) and positive (figure) are presented as inseparable from each other, drawing again the exhibitions thematic comparison between perfect and imperfect; in this case suggesting that what is ‘perfect’is defined by dividing it from what is not.

Michelangelo’s comment that ‘David was in the block of marble’, that he only released it because he saw it there, comes to mind. The piece is called ‘Green Screen’ and it’s by Sresta Premnath.”
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“Current” reviewed in Deccan Herald

…”Sreshta Premnath’s ‘Infinite Threat, Infinite Regress’ passes on to the socio-political plane, though addressed to individuals. Manipulated, multiplied and enhanced images from a Bruce Lee film have the hero facing an invisible adversary in a chamber of mirrors. The effect is of high but confused, self-imposed or rather state-imposed alertness and fear, which becomes underscored by the TV monitor displaying an apparently clear, yet practically useless abstract graph, with the official estimate of terrorist threat in the US. ”

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Black Box reviewed in Deccan Herald

Jan 28, 2008 – Marta Jakimowicz

Collapse of Certainty

Galleryske, continuing its focus on bold, young art, presents Bangalore-born Sreshta Premnath who lives in New York. His exhibition, the “Black Box” (January 7 to February 15) from evidence of air crash becomes a metaphor of the current collapse of clarity in a globalising world. Human and object movements spontaneously change and muddle perception, positions and values, while deliberate manipulation of the same comes from economical powers and advertising imagery aided by technology.

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Usufruct Review

…Delicate by nature and pointed by truth. The show has its points of alluding its viewer in works by both Sreshta Premnath (Point Decapit___on) and Joshua Hart (_iso_) which each use objects like a cloth covered and running 16MM projector (Premnath) or a fake fur coat attached to distorted graphite drawings (Hart). Interesting to note their use of text titles, and how language has a strong bearing on the curatorial selections, given their literary roots in the formal and segmented nature of how text/context are interpreted through works such as this…
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Shifter Review

International Exchange for Poetic Invention

Sunday, January 21, 2007-Linh Dinh

“Shifter, edited by Sreshta/Rit Premnath, is virtually unknown among writers because it’s not, strictly speaking, a literary journal. Its statement begins: “Shifter’s nature is such that it changes every issue. What worked in the previous issue doesn’t work anymore. What failed may be substituted with new deficiencies.

“Certainly no failure, Shifter has gotten increasingly more complex and intriguing, with each issue a work of art that rewards close reading and looking, its various components deftly woven together to yield constant surprises.”
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Museum of Contextual Amputations

http://www.brokenpencil.com/view.php?id=4899

Open Source has absorbed more than its technological connotations, and is now held up as a gospel-cry for tech-culture freedom to lay itself bare of any restrictions or secrets. The Museum of Contextual Amputations follows this Open Source creed as a way to construct a site dependent on users as architects of the content and form. Because of this method, however, the site can be a little disorienting. Like Everything2.com, the museum thrives on a network of seemingly unrelated items. In one moment, you may be transported from the hieroglyphic explanation of Plato’s dialogue cratylos to images of Al Zarqawi’s disembodied head to the self-immolation of a philosopher. While there are countless sites which depend on the “strange and unusual” in order to appear deep and complicated, the museum offers an escape from that because it be edited. Once logged in, users can edit each page, adding or subtracting certain elements by means of the very code that comprises the site. One can add a picture, a link to a video or separate text in order to add or subtract to the existing piece. The “recent changes” section lists all the modifications that various users have performed on the site. You can also add certain pages to a “watch list” in order to monitor the mods that appear on that page.
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