Thursday, February 6, 2014

Narratives of our own, Vision of a Living Past and more..


Narratives of Our Own
( Work on display)
Artisans Art Gallery, Mumbai  presents the story of Ganesh Jogi and his family through their autobiographical pen-and-ink drawings. This exhibition titled, ‘Narratives of Our Own’ is a tribute to Ganesh Jogi, a renowned musician and artist. 

A traditional balladeer from the nomadic Paua community of Rajasthan, Ganesh was a self-taught artist. First prompted to express himself with pen and paper in the 1980s by the cultural anthropologist and artist, Haku Shah, today Ganesh's wife, Tejuben and their family are artists in their own right. Their children Prakash, Somi, Govind, Sangita, daughter-in-law, Soni and her brother Raju Kalbelia join their mother Tejuben in this tribute.

The intricate pen-and-ink drawings are a story of origin, migration, urban settlement, adaptation and survival, with keenly observed detail. At once personal memoir, and imaginative allegory, these articulate works of art are testimony to the transformative power of the human spirit, to awaken not with song this time, but with their stirring art.

The show is on view till 9th February 2014.

Vision of a Living Past
( work by Raghavendra Rao KV)
Gallery Five Forty Five, Bangalore presents ‘Vision of a Living Past: the Imaginary Landscape of the Komagata Maru’, a solo exhibition of new works by Raghavendra Rao K.V.

May 2014 will mark the centenary of the arrival in Canada of the Komagata Maru, a ship carrying 376 migrants from India. A small number of passengers were not allowed to enter Canada in accordance with the amendments to Canada’s Immigration Act and the infamous ‘Continuous Journey’ regulation. These passengers were forced to return to India, only to be welcomed by the British Indian police as dangerous revolutionaries. They were fired upon, and many were either killed or arrested.

The significance of the Komagata Maru for the Punjabi Canadian community of Canada, and indeed for all South Asian Canadians, cannot be overstated. As a newcomer to Canada (who became a permanent resident in June 2013), the artist has been struck by the continuing significance of the Komagata Maru for many South Asians.

For this reason, the artist has completed a series of paintings related to the incident and plans to complete several more paintings, digital images, and conceptual objects that will engage with this event and its ongoing, living significance today. The set of paintings are acrylic on canvas and small in size, represents the effort to bring together processes, surfaces and imageries that are not always seen together.

The show is on view till 28th February 2014.

( Work on display)
Indira Gandhi National Centre for the Arts, (IGNCA)New Delhi presents a show of Swiss artist Mai-Thu Perret. The artist has displayed an installation titled, ‘Balthazar’. Mai-Thu Perret is an internationally acclaimed Swiss artist, her multifaceted practice ranges from sculpture, installation, painting, video and textile works drawing from a wide array of art and art historic references. 

Balthazar is a life-sized donkey sculpture woven out of rattan. The donkey, suggests hard physical labour and in Christian tradition stands for the poor and for women. The subject of the work and its proximity to handicraft and design - to traditionally female occupations- is mirrored in the materiality of the rattan-donkey. 

The show is on till 28th February 2014 at Matighar, IGNCA.

Old is gold

Vadehra Art Gallery, New Delhi presents a group show of etchings, photographs and prints. 
The show is to be held at Triveni Kala Sangam, and the participating artists are, A Ramachandran, Akbar Padamsee, Anjolie Ela Menon, Arpita Singh, Ghulammohammed Sheikh, Krishna Reddy, Laxma Goud, MF Husain, Paramjit Singh, Ram Kumar, Rameshwar Broota, SH Raza, Somnath Hore, Tyeb Mehta, VS Gaitonde and V Vishwanadhan.

The show commences today and will be on view till 12th February 2014.

( News reports by Sushma Sabnis)
Anuradha Saluja unmasks what lies behind the face
(One of Anuradha Saluja's works)
On a slosh-ridden rainy afternoon with Delhi roads traffic choked, viewing art ina quiet art gallery can be healing in its own way. Tucked away in a silent lane in the Siri Fort Institutional Area, the Arpana Caur Art Gallery was home to “Naqaab”, an exhibition of paintings and prints by Anuradha Saluja last week.
Each of the art works displayed on the walls seemed to explore what lies behind the ‘naqaab’ or the veil that each of us wear all the time, letting our guard down only before a select few to whom we permit a look behind and beyond it. Mostly portraits, the works used a range of media — pencil, charcoal, poster colours or dry pastel on white paper, white glass pencil on black paper and acrylic, pastel and oils on canvas.
“What attracted me to do portraits were eyes,” said Anuradha and one could see that having translated into the portraits exhibited, the eyes being the most striking element in almost all of them. “I feel that the eyes talk and are sometimes the only window into what lies behind the veil. In women who wear a burkha, their eyes are all you can see of their faces and their emotions lie within them. When the veil is removed, the lines on their faces tell you what they have experienced in life,” she added. In the backdrop, the white pencil portrait on black depicting a grinning, wrinkled and wisened old man reflected this idea in fascinating detail.
Her “showstopper” as she herself termed it, however, was a pencil sketch on paper — a portrait of a lady without a face. With an intricate pattern filling up the surface where one expects to see the eyes, nose and mouth, Anuradha felt that the air of mystery around this ‘naqaab’ and the curiosity it aroused to know what story lies behind it, is what inspired the title of the exhibition itself.
(Report by Nandini D. Tripathy for The Hindu)

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