1. ‘Social Animals’ group show, Galerie Romain Rolland- Alliance Francaise de Delhi, Delhi. March 2015.
2. ‘East-West’ group show, NIV Art Centre, Delhi. March 2015.
3. ‘Home’ group show, Chatterjee & Lal, Mumbai. December 2015.
4. India Art Fair 2017 & 2018
1. ‘Asie Riderz’, Nantes, France. June 2015. A public art project consisting of a two-week residency.
Part of the much larger annual art festival ‘Le Voyage a Nantes’.
2. Artel. TIFA Working Studios, Pune, India. March-April 2016.
3. Gasworks, London. July-October 2016.
4. L’Agence En Residence. Bordeaux, France. February 2017
1. Inlaks Shivdasani Foundation/Charles Wallace India Trust Award 2016 (Gasworks Residency)
Press & Publications
1. British Council (Featuring Gasworks Residency)
2. BLOUIN ARTINFO (Feature story)
3. Courrier International (French)
4. Livemint Emerging Artists list
5. Deccan Herald (covering the East-West Art Festival)
6. Verve (covering ‘Home’ at Chatterjee & Lal)
7. Mid-Day (covering ‘Home’ at Chatterjee & Lal)
8. Deccan Herald (Feature story)
Priyesh Trivedi (b.1990, Bombay) formally trained as an animation filmmaker, he is a self-taught multi- disciplinary visual artist based in Mumbai. Influences for his work come from his personal research across a wide spectrum of subjects which range, from socio-cultural anthropology, linguistics, examination of popular culture, and post-humanism among many other interrelated concepts.
His acclaimed series ‘Adarsh Balak’ is a critique and parody of the educational posters that were widespread in Indian schools in the late 1980s and early 90s. The original posters were often highly stereotypical with political
undertones and explicitly mobilized moral and social propaganda.’Adarsh Balak’asitis originally stylized in Devanagari script) is Hindi for ideal child. Trivedi’s subversive interventions within this
iconology reinvents the word ‘Adarsh’ by showing the protagonist and his friends do things that they believe in instead of succumbing to societal norms and conventions. His recent work titled ‘Sadvertisements’ subverts vintage print ads by reinforcing the subliminal messages suggested by the visual universe of advertising imagery. It comments on the nature of the industry itself and also the construct of a commodity as something that is not just a thing that is bought and consumed but also as an object that promises transcendental qualities. Trivedi’s cynical exaggerations in this series presents a nihilistic view of humanity trapped in a post-capitalist visual landscape.