Chemould Prescott Road
Skip to main content
  • Menu
  • Home
  • About
  • Artists
  • Art Fairs
  • Chemould CoLab
  • Contact
  • Exhibitions
  • Podcast
  • Store
  • Viewing Room
Cart
0 items ₹
Checkout

Item added to cart

View cart & checkout
Continue shopping
Menu
  • Menu
  • Menu
  • Artists
  • Exhibitions

Atul Dodiya

  • Works
  • Overview
  • Exhibitions
  • Publications
  • Art Fairs
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018
Open a larger version of the following image in a popup: Atul Dodiya, 'Untitled', 2018

Atul Dodiya

'Untitled', 2018
Three wooden cabinet installation with painted glass, framed photographs and found objects
Cabinet 1 : 94 x 48 x 8 in | 238.7 x 121.9 x 20.3 cm
Cabinet 2 : 78 x 48 x 8 in | 198 x 121.9 x 20.3 cm
Cabinet 3 : 84 x 48 x 8 in | 213.3 x 121.9 x 20.3 cm
Copyright The Artist
Enquire
%3Cdiv%20class%3D%22artist%22%3EAtul%20Dodiya%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3E%27Untitled%27%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E2018%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EThree%20wooden%20cabinet%20installation%20with%20painted%20glass%2C%20framed%20photographs%20and%20found%20objects%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3ECabinet%201%20%3A%2094%20x%2048%20x%208%20in%20%7C%20238.7%20x%20121.9%20x%2020.3%20cm%3Cbr/%3E%0ACabinet%202%20%3A%2078%20x%2048%20x%208%20in%20%7C%20198%20x%20121.9%20x%2020.3%20cm%3Cbr/%3E%0ACabinet%203%20%3A%2084%20x%2048%20x%208%20in%20%7C%20213.3%20x%20121.9%20x%2020.3%20cm%3C/div%3E

Further images

  • (View a larger image of thumbnail 1 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 2 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 3 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 4 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 5 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 6 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 7 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
  • (View a larger image of thumbnail 8 ) Atul Dodiya, Bapu at Rene block Gallery, New York-1974, 1998
encounter three cabinets with palette-shaped perforations. Dodiya has often used the cabinet of curiosities, a Wunderkammer reloaded for contemporary times, to perform an annotative function, writing footnotes as it were...
Read more
encounter three cabinets with palette-shaped
perforations. Dodiya has often used the cabinet of curiosities, a
Wunderkammer reloaded for contemporary times, to perform an annotative
function, writing footnotes as it were to the unfolding narrative. These
particular cabinets shift focus from their shuttered black-and-white palette-
windows, which act as a poetic caesura to a lively bric-a-brac of art history
and popular culture. Here figurines and curios found in the flea market rub
noses with museum magnets bearing the seriousness of high art. This may
look like a pleasing disorder of things, but what we have before us is a
carefully arranged score of harmonies and discordances.
A strange metal boar wrapped in epoxy putty adhesive reminds us of the
dynamic Varaha avatar – the mythic boar who miraculously lifted up, on its
tusk, Bhudevi, the earth, from her misery. Paired here with a photograph of a
fingerprint from ‘Blackmail’, it testifies to an uncanny forensics of the male
artist’s mind: the tussle between the rescuer and the aggressor/violator. In the
windows below, an image from one of Picasso’s preparatory drawings for
‘Guernica’ (1937) – the head of an anguished woman looking skyward – is
neighbour to a weird curio, a set of vases fused together. Picasso saw women
as ‘suffering machines’.[12] Notoriously, hereduced his muse and partner
Dora Maar – a strong woman and a gifted photographer – to a tortured being.
His representation of Maar as a ‘Weeping Woman’ reveals the artist’s
oscillation between his sadistic desire to eviscerate the female form and his

veneration of the Catholic archetype of the mourning Madonna. The adjacent
milk-white vases could allude to upturned udders sucked dry.
If Picasso regarded women as ‘suffering machines’ and represented their
bodies through violent distortion, Degas, as we have seen, liked to depict
women – who he described as his “little monkey girls” – in the act of “cracking
their joints” while rehearsing for the ballet. In a previous generation, Ingres
had been more gallant – he had distorted the reclining bodies of his women
sitters more gently and elegantly. Ingres’ ‘Odalisque in Grisaille’ (1824-1834)
had been criticized, when exhibited, as a bizarre work: its protagonist, already
drawn from the exotic realm of the Ottoman andarunor seraglio, had one
vertebra too many, a twisted pelvis, and an enormously long arm. In one of
the cabinets in this exhibition, Dodiya places a reproduction of Ingres’ much-
maligned painting, which, in fact, is a magnificent symphony of grey tonalities.
This choice, I think, is not accidental. This Oriental fantasy – which fractures
the ideal protocols of a neo-classical, proportionate beauty by literally
stretching them to an extreme – bears an intense affinity with Dodiya’s own
love for the extreme, for the bizarre detail, for figures whose spines have been
drawn out, loaded and placed under torsion. Also, Ingres’ magnificent play of
grey tonalities offers a counterpoint to Hitchcock’s noirish aesthetic, each
artist putting monochrome and penumbra to very different use.
Close full details

Exhibitions

Seven Minutes of Blackmail, 2019, Chemould Prescott Road, Muumbai, India
Previous
|
Next
4 
of  14

3rd Floor, Queens Mansion                                        Monday—Saturday, 10.00 am—6.00 pm

G Talwatkar Marg, Fort                                                +9122-22000-211 / 212 / 213

Bombay 400-001

 

Artists                                                                           Art Fairs

Exhibitions                                                                   Podcast

About                                                                           Publications

Contact

Instagram, opens in a new tab.
Facebook, opens in a new tab.
Twitter, opens in a new tab.
Join the mailing list
Send an email
View on Google Maps
Manage cookies
© 2021 Chemould Prescott Road
Site by Artlogic

This website uses cookies
This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Manage cookies
Accept

Cookie preferences

Check the boxes for the cookie categories you allow our site to use

Cookie options
Required for the website to function and cannot be disabled.
Improve your experience on the website by storing choices you make about how it should function.
Allow us to collect anonymous usage data in order to improve the experience on our website.
Allow us to identify our visitors so that we can offer personalised, targeted marketing.
Save preferences
Close

Sign up to receive the latest news about exhibitions and artists

Subscribe

* denotes required fields

We will process the personal data you have supplied in accordance with our privacy policy (available on request). You can unsubscribe or change your preferences at any time by clicking the link in our emails.