13 Facts About Sudarshan Shetty

Sudarshan Shetty was born on 1961 and is a contemporary Indian artist who has worked in painting, sculpture, installation, video, sound and performance.

Sudarshan Shetty has exhibited widely in India and more recently he has become increasingly visible on the international stage as an important voice in contemporary art.

Sudarshan Shetty's work has been exhibited at the Fukuoka Asian Art Museum, Fukuoka, Japan, and the Tate Modern, London, England.

In 2010, Sudarshan was part of Contemplating the Void: Interventions in the Guggenheim Museum, curated by Nancy Spector at the Solomon R Guggenheim Museum, New York and in Indian Highway, at the Herning Museum of Contemporary Art, Herning, Denmark, which opened last year at the Astrup Fearnley Museum of Modern Art, Oslo and at The Musee d'Art Contemporain, Lyon in 2011.

In 2009, Sudarshan Shetty had a solo exhibition at Galerie Daniel Templon, Paris, and his work was part of India Contemporary, a three-man show, at the Gem Museum for Contemporary Art, The Hague.

Sudarshan Shetty's work is part of many important public collections including the Kiran Nadar Museum of Art, Devi Art Foundation, India, Fukuoka Asian Art Museum, Japan and the FC MoCA, Manchester, UK.

Sudarshan Shetty was born in a bunt family at Mangalore, India, in 1961.

Sudarshan Shetty trained in painting at the Sir JJ school of Art, Mumbai, during the late 1980s, but found himself increasingly attracted to the idioms of sculpture and installation.

Sudarshan Shetty's oeuvre has been defined mostly by large sculptural installations and multi-media works.

Sudarshan Shetty often uses simple, repetitive, mechanical movements and sound in kinetic works that explore aspects of temporality.

In 2003, the Bose Pacia Modern in New York opened the Habitat Visual Arts Center in New Delhi where Sudarshan Shetty exhibited his major solo Consanguinity.

Sudarshan Shetty creates hybrids that explore the possible overlap between Indian and Western traditions.

Sudarshan Shetty appropriates the notion of tradition and pairs it with recurrent themes in his practice-that of artifice or fabulation, to create five-part installation to the act of mourning.