Rina Banerjee: Human Likeness
Kolkata-born and New York-based, Rina Banerjee fills the entire gallery with her fantastical, immoderate sculptures and delicately swirling paintings in an exhibition that seeks to describe the human experience in an era of unprecedented migration and interconnectedness.
Banerjee’s sculptures are shamanistic assemblages of textiles, feathers, sparkling glass and tinkling bells. Beaded, embroidered and sensuously monstrous, they wantonly conjoin the exotic and rare with the cheap and mass-produced — rejecting conventional hierarchies of material and culture. In her paintings, chimeric female forms dance and float through vibrant, bountiful landscapes in states of hybrid transformation.
In a post-colonial, global world, identity — racial, cultural or gender — is no longer easily defined. In this exhibition, Banerjee offers up the optimistic possibility of a world freed from the constraints of conventional standards of beauty, worth, social pecking order and what is “proper.” We live in a moment of singular opportunity, Banerjee posits, a moment when it is possible for individuals to define themselves in a way that is truly authentic.
Rina Banerjee (b. 1963, Kolkata, India) received a BS in Polymer Engineering and worked as a research chemist before completing her MFA at Yale in 1995. Recent solo museum exhibitions include the Smithsonian Museum’s Sackler Galleries (Washington DC) and the Musée Guimet (Paris). Her work was included in the 2000 Whitney Biennial, the 2005 and 2015 Greater New York Shows at PS1/MOMA, the 2013 Venice Biennale’s White Light/White Heat at the Glasstress Museum, the 2015 Asian Art Biennial at the National Taiwan Museum of Fine Arts (Taichung) and the 2016 Busan Biennial, South Korea. Her work will be included in this year’s Prospect 4 New Orleans Biennial. Her work is in the collections of the Devi Art Foundation (New Delhi), Kiran Nadar Museum (New Delhi), Centre Georges Pompidou (Paris), the Whitney Museum of American Art (New York), The Brooklyn Museum (New York), Berkeley Art Museum (Berkeley, CA), San Francisco Museum of Modern Art, Hammer Museum (Los Angeles), and many others.
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Rina BanerjeePreternatural passage came from wet whiteness and mercantile madness, paid for circular migrations, she went thirty six directions that is all the more different, where empire threw her new born and heritage claimed as well, this lady bug was not scarlet , 2011Steel armature, vintage porcelain baby doll head, wooden spindle, cowrie shells, red thread, vintage birch wood shoe form (size 9-10), Bengali saree, feathers, horns, costume wedding jewelry36 inches tall x 60 inches in diameter
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Rina BanerjeeWhere I came from was water and salt and this is where I will go with bangles to tackle my human opponents and tangles of hair that snaked out of air her tongue and yours will know when to play with water, mountain and or air this no human laws shall come, 2015ink, acrylic & 23 kt gold & copper on paper14 x 10 in
35.6 x 25.4 cm -
Rina BanerjeeIn green, iridescent girls, girls in bathing suits like beetles upon roses, petal to petal and then bush. Girls fell upon beaches girls and mothers why not sisters too with boys and men and why not this too. She was faulted at 7 years of age showing flesh, 2015ink, acrylic & 23kt gold on paper14 x 10 inches
20 1/4 x 16 1/2 inches framed -
Rina BanerjeeUnthinkable skirt, 2015ink, acrylic, 23kt gold & copper on paper14 x 10 in
35.6 x 25.4 cm -
Rina BanerjeeHanuman's flight is evolution's climb, 2012-17silk, velvet, glass beads, gold threads, silk threads, iron wire, glass, shells and Victorian doll eyes55 x 55 x 27 in
139.7 x 139.7 x 68.6 cm -
Rina BanerjeeIn transparent soil she spoke to welcome her other more mouthy voice , sliced open tunnel, mountain and air, tugged, tumbled even tackled to rise lighter, higher more quicker knocking who?, 2015ink, acrylic and copper on paper66 x 45 3/4 inches
69 x 48 inches framed -
Rina BanerjeeSex-bait, in likeness to fish bait to catch her as disloyalty in likeness to Eve, to arouse her fear, to create racial panic of black jewels like honey to stir and stir poisonous passions, minted money out lynching funny, 2017ceramic vintage negro head, Victorian brown bitters bottle, red silk tassels, Murano glass in opaque black, and steel armature34 x 23 x 13 in
86.4 x 58.4 x 33 cm -
Rina BanerjeeThe Sap of earth n’ blood, leaky, which adaptation may deliver one baby, to a clear ethnicity and transparent gender in centre and in likeness of parents, baby by wife, baby by husband from side to side, upon smiling country and unnatural culture appeals, 2017steel, wood, glass, silver leaf, cowrie shells, sea shells, taxidermy eyes, vintage saris145 x 100 x 100 in
368.3 x 254 x 254 cm -
Rina BanerjeeJack Fruit Johnny she was a diasporic Devi changed her name to honey changed her faith to sunny, changed this sex to something funny, changed her city to new York City -all for reason to be far far away from misery and war for money, 2015Cotton thread, paper mache vessel base, steel stand, vintage porcelain doll head, silk fabric with printing, porcupine needles, silver blue leaf, plastic trim60 x 18 x 20 in
152.4 x 45.7 x 50.8 cm -
Rina BanerjeeFriendly Fire, 2015steel structure, textiles, beads, feathers, thread, bulbs58 x 48 x 32 in
147.3 x 121.9 x 81.3 cm -
Rina BanerjeeUgly boy. I saw him-he was thick in parts and sort of too short, with skin, light in color, yellowish tone, but spotted like dirty mushrooms, he snored at school and growled upon waking and his nose always ran, his brows were scraggly, he had a beard that, 2014acrylic & ink on watercolor paper30 x 22 in
76.2 x 55.9 cm
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