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In Touch Edition II 
Photo / Concept

Chemould Prescott Road

Monday—Saturday, 10.00 am—6.00 pm

+9122-22000-211 / 212 / 213

3rd Floor, Queens Mansion

G Talwatkar Marg, Fort 

Mumbai 400001

Chemould CoLab

Tuesday—Saturday, 12.00 pm—6.00 pm

+9122-22000-211 / 212 / 213

2nd Floor, Sugra Manzil

BEST Marg, Colaba

Mumbai 400039

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Open a larger version of the following image in a popup: Atul Dodiya, Falling Ancestors in Nauman's Land, 2012-13

Atul Dodiya Indian, b. 1959

Falling Ancestors in Nauman's Land, 2012-13
Installation | 6 photographs, archival digital prints on Hahnemuhle Bamboo paper, Wood, Iron Angles
Shelf: 96 in | 244 cm
Installation size variable
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The installation realises the cross-over of personal archive, art-history anthology and wonder-room. The wonder-room (‘Wunderkammer’) as a prototype of the museum assembles a variety of objects that produce peculiar morphologies....
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The installation realises the cross-over of personal archive, art-history anthology and wonder-room. The wonder-room (‘Wunderkammer’) as a prototype of the museum assembles a variety of objects that produce peculiar morphologies. Following this tradition Atul’s ‘hero-trophies’ mounted on wall shelves recall the excessive encyclopaedic urge with which the owners of the ‘wonder-rooms’ collected and displayed artefacts. Atul Dodiya’s ‘wonder-room’ takes the form of an ancestral portrait gallery with the most famous icon Marcel Duchamp looking like a 'fallen angel'. The artist acts as an archivist, ‘arranger’ and collector, whose work pays homage to the artistic ancestry, yet ironises the glorification and mystification of the revered idols.
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Exhibitions

Aesthetic Bind: Cabinet Closet Wunderkammer, 2014, Chemould Prescott Road, Mumbai, India

Literature

The installation realises the cross-over of personal archive, art-history anthology and wonder-room. The wonder-room (‘Wunderkammer’) as a prototype of the museum assembles a variety of objects that produce peculiar morphologies. Following this tradition Atul’s ‘hero-trophies’ mounted on wall shelves recall the excessive encyclopaedic urge with which the owners of the ‘wonder-rooms’ collected and displayed artefacts. Atul Dodiya’s ‘wonder-room’ takes the form of an ancestral portrait gallery with the most famous icon Marcel Duchamp looking like a 'fallen angel'. The artist acts as an archivist, ‘arranger’ and collector, whose work pays homage to the artistic ancestry, yet ironises the glorification and mystification of the revered idols.
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