At first, Sudhanshu Sutar (b. 1988, Bhubaneshwar, India) and Andrea Zucchi (b. 1964, Milan, Italy) might seem like an unlikely pair—one rooted in India’s royal past and theatrical storytelling, the other remixing historical imagery with irony and a modern twist. They don’t speak the same language, yet their work does something unexpected: it communicates.
This exhibition brings together contemporary artists Sudhanshu Sutar (b. 1988,
Bhubaneswar, India) and Andrea Zucchi (b. 1964, Milan, Italy), whose works engage
in a compelling visual dialogue despite their distinct cultural contexts. Without a shared
spoken language, their art transcends vocabulary, exploring history, identity, and
reinterpretation. Both artists blur temporal boundaries, merging past and present
through historical materials like archival photographs and cultural symbols. Sutar
constructs narratives rooted in lost royalty and shifting identities, while Zucchi layers
historical imagery with playful irreverence. Their approaches contrast: Sutar’s
meditative, theatrical compositions honour historical figures, whereas Zucchi’s vibrant,
pop-infused works subvert and reimagine the past. Despite these differences, both
artists view history not as fixed but as a fluid medium—open to reinterpretation and
transformation.
Sutar’s work reflects Odisha’s rich history, particularly the faded grandeur of Kanika
Palace. His paintings explore lost royalty and the transient nature of power and
identity, resurrecting forgotten histories. Influenced by his father’s theatre background
and his grandfather’s work in the palace, Sutar’s compositions resemble meticulously
staged theatre sets. Sometimes stripping faces of individuality, he transforms figures
into symbols of kingship and historical displacement. His surrealist approach
reinterprets history, bringing the past into contemporary times, creating works that feel
both personal and universal.
Zucchi transforms historical imagery through contemporary visual culture, merging
classicism, philosophy, and literature with striking modern interventions. His latest
series reimagines 19th-century photographs using exaggerated colours, a process he
calls ‘psychedelic plagiarism.’ This playful yet critical examination of how history is
preserved, copied, and repurposed, taps into the modern phenomenon of ‘copy and
paste’ culture, where digital technology enables endless reproduction and
recontextualization of images. This interrogation of appropriation extends beyond
mere aesthetic exercise—it becomes a commentary on globalisation, memory, and the
fluidity of historical interpretation.
Sutar and Zucchi share a fascination with history, viewing it not as fixed but open to
reinterpretation. Both artists transform archival materials into contemporary narratives,
encouraging viewers to see the past anew. While one preserves and reimagines, the
other deconstructs and subverts—offering two distinct yet complementary
perspectives on historical memory and transformation. Kindred Dichotomies serves as
a space for exchange—where visual, cultural, and historical narratives intersect,
bridging lived and imagined realities. In bringing together Sutar and Zucchi, this
exhibition underscores the power of artistic expression to transcend boundaries,
proving that even in a complex, globalised world, creativity fosters connection.
Through their distinct yet intertwined approaches, the exhibition invites viewers to
embrace diverse perspectives, recognising both differences and commonalities. Here,
history is not just revisited but reimagined, demonstrating how art continues to unite,
challenge, and inspire across time and place.
