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Anindita Bhattacharya
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Anindita Bhattacharya (b 1985), has been living and exhibiting in New Delhi since she obtained her MFA from the famed Faculty of Fine Arts, MSU Baroda, in 2009. She is a Gold medallist of the Nasreen Mohammedi Award from Prestigious Maharaja Sayaji Rao University in Baroda.

She has been a recipient of awards like “Lt Milind Madhukar Bhade” Gold Medal 2009, “Narendra Gajanan Bhatt” Gold Medal awarded by Maharaja Sayajirao University Baroda 2009, Nasreen Mohamad Award for the Best Display, for the year 2006 and 2009 respectively, Rajasthan Lalit kala Akademi Award for the year 2005 & 2009. She has attended a workshop in Mughal and Persian Miniature painting in London, 2017. 

Her important exhibitions include Her solo show Carrion Culture and Other Stories, ‘19, premiered at Threshold Art Gallery, New Delhi & her works was displayed at the India Art Fair ’19. Group exhibitions include Verdant Memory, 2017 Threshold Art Gallery, Revisiting Beauty Threshold Art Gallery 2016 New Delhi, Restart & The Unbearable Closeness of Being at Vis-à-vis, New Delhi (2015), Back To College: Vadfest, Vadodara (2015), Integrated Inception: Art Konsult ,New Delhi (2013), Articulate 2012: Saffron art and Pratham UK, London, Future of The Museum Collection III: India Habitat Centre, New Delhi (2011), Contemporary Shahnamah Millennium Painting  Exhibition: National College of Arts, Lahore  

Contemporary Shahnamah Millennium Painting Exhibition: The Prince’s Foundation Gallery, London (2010), Whole: Gallery Indigo Blue: Singapore (2010), Drifters: Gallery Beyond, Mumbai (2010). She has attended a workshop in Mughal and Persian Miniature painting in London, 2017

The aesthetic trope of Anindita’s vocabulary allures and encourages the viewers to travel through thousands of year of art history across various cultures and traditions; the content is paradoxical.   

Anindita had shown an early interest in the linguistic tropes of Mughal and by extension Persian miniatures even in her formative years as an artist. Over the years her fascination with ornamentation and patterns were conflated with a deep sense of search for identity that was syncretic as a response to the right-wing political mobilization and monolithic cultural constructs about the idea of India. In her recent works, Anindita employs a delicate tracery of patterns and references to iconic images from the history of miniature tradition which she overlays with metaphors of subtle violence to create seemingly pretty looking imagery that are loaded with foreboding. Using text as a form of subversion, Anindita strives to explore ways to stretch and pull apart the vocabulary of a seemingly insular style, creating a hybrid imagery that is both veiled and provocative, that blurs polarities as traditional and contemporary, East - West, representation and abstraction.

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