Indian photographer's work goes to Venice Biennale 2013

Celebrated Indian photographer and installation artist Samar Singh Jodha will present his latest work at the Venice Biennale 2013.
Jodha will present his work OUTPOST at the world's one of the most sought after platforms for contemporary art that began on May 30 and will go on till November 25.
Hosted every alternate year for the last 106 long years, the compilation of art projects at the event is extraordinary.
Over the past 20 years, Jodha's work has been seen in galleries and museums in India as well as in Barcelona, Boston, Dubai, Frankfurt, London, New York, Queensland, Washington DC among others.

Last Olympics he had a 40-foot installation on Bhopal-Union Carbide disaster at the Amnesty International London.
He is an avant garde artist who has often used photography and film to focus on marginalised issues and communities in developing world.

Jodha's latest enterprise OUTPOST is a visual dissertation on a global culture where aesthetic notions are framed by commercial interests, and homogenised to such a degree by mass media that spontaneous individual expressions often emerge as accidental bi-products of non-aesthetic pursuits.
He highlights this unusual state of affairs via a pictorial trope of discarded containers fashioned into habitat by miners in India's pristine northeast.

The fact that Jodha foregrounds his work with a people given to excavating precious minerals from the earth's womb to keep the engines of the same mass culture and industry running, adds poignant irony to his endeavour.
The interplay of narratives represented by a broken people and their robust expression unravels the threads of a global technopoly that promises a rosy future to one and all via rapid innovation, while simultaneously condemning many others to centuries-old regression.
In deploying photographic imagery as the foundation stone of this work, Jodha summons a visual discourse that is rooted in documentary practise, yet is scarcely mimetic of that art form.

As a seasoned artist, he is all too aware of its diminished power in the post-modern era.
There is therefore a double dispossession at play here.
The sliver of optimism in this work is a notion that art-making is too precious a gift to be restricted only to the virtuoso.