-
Untitled
-
All our seeds are saved
-
All our seeds are saved
-
All our seeds are saved
-
All our seeds are saved
-
We only have this piece of land
-
Untitled
-
River diversion
-
Industrial Acquisition
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Wall of traditions
-
Untitled
-
Untitled
-
Untitled
-
Untitled
-
Untitled
-
Untitled
-
Untitled
-
Living with the memories
-
Farming labourers, situation – I & II
-
When they stopped making
-
Untitled
-
Untitled
-
Untitled
-
Untitled
-
From their tradition
-
Dysfunctional tools
-
Growing in a cage
-
Industrial Acquisition IV
-
Living with the memories
-
They are looking for a new village
-
Dysfunctional tools
-
Dysfunctional tools
-
Dysfunctional tools
-
Dysfunctional tools
-
Industrial acquisition
-
Industrial Acquisition
-
Industrial acquisition
-
When they stopped making
-
Untitled
-
How They Looked At Us
-
Altered Landscape III
-
Views from a Certain Distance IV
-
Untitled
-
Forest without the Sky II
-
Forest without the Sky
-
Alternative Landscape III
-
Procession on a Conditional Land II
-
Nothing Left to Worship II
-
Culture Tools
-
Portraits from Different Land
-
They Don’t Call Themselves Farmer Anymore
-
Untitled
-
Industrial Portraits- III
-
Field Note (stage 2)
-
A Settlement to Deepen the Land II
-
Living in the Crevice
-
Altered Landscape II
-
Altered Landscape I
-
Untitled
-
Introduction of a Different Way
-
Making a Barren Land
-
Untitled
-
Making of a Conditional Barren Land
-
Making a Barren Land
-
Manmade Landscape II
-
Object Studies from Memories
-
Object Studies from Memories
-
When They Stopped Dancing
-
Portraits from Different Land
-
Manmade Landscape
-
Living with Different Horizons
-
Nothing left to Worship
-
When they do not Dance
-
Nothing left to Worship
-
Nothing left to Worship
-
Nothing left to Worship
-
Nothing left to Worship
-
Procession on a Conditional Land
-
View from a Certain Distance III
-
Sitting Cows & their Surrounding
-
Marking to Dig the Land
-
View from a Certain Distance
-
Memories from a Landscape I
-
View from a Certain Distance I
-
Calculative Division
-
Settlement to Deepen the Land
-
Calculative Division
-
Riverse Perspective
Sangita Maity (b.1989, Kanthi, West Bengal) lives and works in Kolkata. Sangita completed her post-graduate studies in printmaking from the Faculty of Visual Arts, Rabindra Bharati University. Her work involves extensive research and she uses photographs, photo-etchings, serigraphy and various other mediums to describe her experience. In 2019 Maity participated at the Serendipity Art Festival, Goa, curated by Rahaab Allana; a group show at Shrine Empire, New Delhi; solo show at Clark House Initiative, Mumbai, 2018. She was awarded the Junior Fellowship of Ministry of Culture from the Government of India, 2018 -2020, Experiments 2016, group show at Dr. Bhau Daji Lad Museum, Mumbai and Khoj Peers Residency 2014 at Khoj Artists Association in New Delhi. Galerie Mirchandani + Steinruecke’s 2014 edition of ‘Art for Young Collectors’, in Mumbai. She received Cima Jury Award in 2015.
Her recent projects are based on socio-cultural, geographical, political and environmental issues on excessive rubber plantation in Tripura, India’s second-largest rubber producing state. She interacts with the land and visits rubber planted forests as well as its related factories in Tripura to understand the process, occupational history of the people involved as a labour in the business.
During her last visit, she investigated the environmental impact of genetically modified rubber plants and occupational migration of local tribal communities. Occupational migration has forced the locals to abandon their traditional way of life and practices. Traditions have been altered by their new circumstances, adapting to other cultures to sustain their livelihood. This body of work investigates the relationship between tradition and situation and their contradictions, in the lives of indigenous communities in Tripura.
“I have been engaged with indigenous communities of Barbil in their makeshift settlements over the course of time to understand what they have unlearned in the process of displacement and what they have learned by unlearning their tradition. Series of portraiture, daily living and activities around the transformed landscape and collective narrativity of the displacement process have been represented into my visual practice over a variety of mediums which I find simulates the sensitivity of the issue.” – Sangita Maity
-
India Art Fair | Group show
February 12, 2023 - February 9, 2023
-
Delhi Contemporary Art Week – 2022 |
September 7, 2022 - September 1, 2022
-
India Art Fair 2022 |
May 1, 2022 - April 28, 2022
-
Now They Stopped Building Granaries | Sangita Maity
June 15, 2022 - April 26, 2022
-
Hub India – Artissima | Palazzo Madama | Accademia Albertina di Belle Arti | MAO Museo d’Arte Orientale |
February 27, 2022 - November 5, 2021
-
Delhi Contemporary Art Week – 2021 | Group Show
April 15, 2021 - April 8, 2021
-
From the Soil | In Touch Edition 05 | Sangita Maity
March 20, 2021 - December 16, 2020
-
Intersections | In Touch Edition 03 | Group Show
August 15, 2020 - July 15, 2020
-
India Art Fair-2020 | Group Show
February 2, 2020 - January 30, 2020
-
Kushala Vora, Sangita Maity and Shruti Mahajan | Group Show
January 11, 2020 - December 6, 2019
-
Delhi Contemporary Art Week – 2019 | Group Show
September 7, 2019 - September 1, 2019
-
PRAF presents: A Time for Farewells | Curated By Premjish Achari
August 10, 2019 - July 18, 2019
-
Slow – India Art Fair – 2019 | Group Show
February 3, 2019 - January 31, 2019
-
When They Stopped Dancing | Sangita Maity
November 4, 2018 - October 11, 2018
-
Whose History? Which Stories? | Group Show
December 28, 2012 - December 7, 2012
-
Contemporary Art Week | Group Show
September 3, 2017 - August 31, 2017
-
Delhi Contemporary Art Week | Group Show
August 30, 2018 - August 27, 2018
-
India Art Fair – 2018 | Group Show
February 12, 2018 - February 9, 2018