April 13, 2018 - DHC/ART Foundation for Contemporary Art - Bharti Kher: Points de départ, points qui lient
April 13, 2018

DHC/ART Foundation for Contemporary Art

Bharti Kher, I’ve seen more things than I dare to remember (4), 2015. Bindis on paper, 70.3 x 83 cm. Photo: Claire Dorn. Courtesy of the artist and Perrotin.

Bharti Kher
Points de départ, points qui lient
April 20–September 9, 2018

Artist talk: April 18, 7pm
Phi Centre, 407 Saint-Pierre Street, Montreal, QC, Canada
Opening reception: April 19, 5:30–8:30pm

DHC/ART Foundation for Contemporary Art
451 & 465, Saint-Jean Street
Montreal Quebec H2Y 2R5
Canada
Hours: Wednesday–Friday 12–7pm,
Saturday–Sunday 11am–6pm

T +1 514 849 3742
info@dhc-art.org

dhc-art.org
Twitter / Facebook / Instagram / Artsy

Bharti Kher
Points de départ, points qui lient
April 20–September 9, 2018

Artist talk: April 18, 7pm
Phi Centre, 407 Saint-Pierre Street, Montreal, QC, Canada
Opening reception: April 19, 5:30–8:30pm

DHC/ART Foundation for Contemporary Art
451 & 465, Saint-Jean Street
Montreal Quebec H2Y 2R5
Canada
Hours: Wednesday–Friday 12–7pm,
Saturday–Sunday 11am–6pm

T +1 514 849 3742
info@dhc-art.org

dhc-art.org
Twitter / Facebook / Instagram / Artsy

Bharti Kher is known internationally for her signature use of the bindi in works across painting and sculpture. Derived from the Sanskrit word bindu—meaning point, drop, dot or small particle—and rooted in ritual and philosophical traditions, the bindi is a dot applied to the centre of the forehead as a representation of a spiritual third eye. Originally applied with natural pigment, bindis have transformed over time to become a popular, mass produced accessory. Kher reclaims this way of seeing by creating intensely layered and lavish "paintings" that are charged with the bindi’s conceptual and visual links to ideas such as repetition, the sacred and the ritual, appropriation, and a deliberate sign of the feminine. The bindi becomes a language or code we begin to read through works that elicit formal connections with abstract expressionism, op art, and geometric abstraction from Western painting and the tantric and neo-tantric traditions of India. Kher states: “I activate the surface for you to imagine the microcosmic and macro. Remember also that the work looks back at you.”

A selection of bindi paintings will be on display at the Foundation, including the "Heroides" series (2016), which refers to Ovid’s The Heroides. This collection of epistolary poems is written in the voice of the heroines of Greek and Roman mythology, who address and respond to their lost, left, and imagined lovers. An ongoing series of map works that cover and mask Mercator world maps will also be exhibited for the first time. The application of bindis mark, scar, and punctuate territories and borders, questioning the north/south polarities of country and nation, as well as the visual misrepresentations of a European geodesy.

Kher’s sculptural practice also makes use of the readymade in multiple ways. Her "portrait sculptures" (2012-2016) are cast concrete pedestals draped with the sari, the unique South Asian garment that is tied and worn from a 5.5-metre length of unstitched fabric. In this instance, the sari becomes the signifier of the personal and the proxy for the absent body. The night she left (2011), one of the works in the series, is a reclaimed wooden staircase that Kher marks with a cascade of red bindis. A twisted sari weaves around an upturned chair, evoking the narrative of the work’s title.

Also presented is the colossal work An absence of assignable cause (2007), an imagining of the anatomic heart of a blue sperm whale, made to scale and enveloped in a skin of bindis. At once the biggest heart in the world and an inquiry of love, this work offers the paradox of seeing with the inner eye into the heart of the other.

Bharti Kher’s work underlines the productivity of disparate combinations in disrupting a world that insists on defining human experience and its cultural expressions. Through subtle clues and formal seduction, she explores a multitude of themes including hybridity, the spectrum of the female body, and the nonphysical in the material world. This exhibition also gives us an opportunity to engage with other urgent questions through art: with the contradictions in male/female dynamics; with cultural appropriation and the ways we look at the other; and, essentially, with empathy. As a vibrant and playful city full of contradictions and mixes, Montreal provides a particularly poignant context for Points de départ, points qui lient.

Born in London, England in 1969, Bharti Kher studied at Middlesex Polytechnic, London, and later received her BA Honours in Fine Art–Painting from Newcastle Polytechnic in 1991. She moved to India in 1993 and continues to live and work in New Delhi. She has exhibited extensively internationally, and her work is held in major collections around the world.


About DHC/ART Foundation for Contemporary Art
Established in 2007, DHC/ART is a non-profit organization dedicated to the presentation of contemporary art. Housed in two heritage buildings located in the heart of Old Montreal, DHC/ART’s programming has met with critical acclaim both at home and around the world. Each year we offer two to three major exhibitions, a series of public events, special collaborative projects, and a forward thinking education program. International in scope, while responsive to the context of the city of Montreal, all of DHC/ART’s programming is offered free of charge. This is one of the ways it reinforces its commitment to accessibility while fostering a discussion on how contemporary art is invested with the topics and ideas that reflect and touch our everyday lives.

Related
Share
More
DHC/ART Foundation for Contemporary Art
Share - Bharti Kher
Points de départ, points qui lient
  • Share
Close
Next