Saturday, February 8, 2014

The Surreal Project, Unbelong, St.Art- Street Art Festival and more..


The Surreal Project

Alliance Francaise de Bangalore presents ‘The Surreal Project - A Digital Art Exhibition’ by artist Vineet Radhakrishnan. 

Vineet is a digital mixed media artist and photographer. His latest series inspired by the works of René Magritte, Frank Kafka and Salvador Dali is called the ‘Surreal Project’ and plays on many fantasy and other worldly themes that are interjected now and then with a pinch of humor. 

The work is a combination of photo-manipulation and digital painting. Vineet is a professional fashion and portrait photographer working out of Paris and Bangalore, India.

The show is on view from 15th February to 16th February 2014.


What About Art? art space, Mumbai presents the opening of ‘Unbelong’, a series of video works by Suruchi Choksi. The show of video works will be displayed at the Afghan Church on 15th February between 7:00 and 9:00 pm

‘Unbelong’ seeks to explore the impermanence of desire in present-day relationships through an investigation of the many layers of expectations that weave contemporary familial bonds. Touching upon a number of significant markers of a world transitioning from the traditional to the modern, Choksi illustrates the latent subversion of long-established customs by creating a landscape that locates itself within the mind of her protagonists.

The series comprises of four short videos – each inquiring the quest to own that which is desired, only to be relegated to the background once obtained. For the opening of her first show in Mumbai, Choksi has chosen to present the work in the unusual venue of the Afghan Church in Colaba. Choksi plays with the scenography of the church for one evening and invites the viewer to experience her work in its dramatic and powerful space.

The show continues at What About Art?, Bandra from 17th February to 24th February 2014.

St.Art -Street Art Festival
( work on display)
Social Space, New Delhi will see a month-long exhibition showing works of major street artists from across the world together with a selection of the best Indian artists providing an in-depth view of the 'phenomenon' of street art and its history from graffiti to public art.

The festival is on view till 28th February 2014.

Eclectic explorations
( work by Manjunath Hassan)
Kala Rasa Art House, Bangalore presents an exhibition featuring paintings, sculptures and photographs by 30 acclaimed artists including Shivanand B, Uday Vir Singh, Shan Re, Manjunath Hassan and Pradeep Kumar DM.

The show illuminates the simplicity of life through its complexities. Sculpture, paintings, graphic art, installation art, all these mediums combine through the works creating a display that will provoke thought, stimulate conversation and more questions, and leave impressions in the mind long after the visual ceases.

The show is on view till 8th February 2014.

(News reports by Sushma Sabnis)


Visual narrative with a rhythm
Parameshwar Raju infuses his interpretation of Ramayana with lyrical charm
(Manthara's advice to Kaikeyi)
Five thick strokes form the base and a thin curved line completes the structure of the boat. The boat is inhabited by Rama, Sita and Lakshmana who are being ferried by King Guha across river Sarayu. Rama and Lakshmana, each represented by two angular strokes hold a bow each and Sita, seated between them, is characterised by her hair knotted up in a tiny bun. This calligraphic representation is part of 37 drawings that are part of ‘Ramayanam – lore of belief’ by Poosapati Parameshwar Raju.
A visual interpretation of the epic is no mean task and the artist has chosen significant story points for his calligraphy. Using vermillion red and a variety of nibs, he lends individuality to each of the characters. The artist states his preference to paint the Devanagiri stroke with an English poster nib in-built with a right slant.
(King Guha ferrying Rama, Sita and Lakshmana across river Sarayu)
The boat episode was the first sketch done by the artist in this series. The 37 visuals were done between 2010 and 2012, as and when he could visualise each episode. The first sketch of the boat, says the artist, was more decorative and shaped like a swan. To keep with the simplicity of the format, he converted it into a simple boat.
The calligraphic strokes have been used skilfully to help the viewer/reader relate to the emotions. Parameshwar Raju uses a set of wavy, lengthy and curved strokes to show Vishnu’s ‘sesha sayanam’. Small wavy strokes juxtaposed against each other represent flames in the scene recreating Hanuman burning Lanka. Thick and obliquely positioned strokes constitute Hanuman’s wound up tail that helps him sit tall in Ravana’s court.
(Vanara Sena during the construction of Rama Sethu bridge)
A few images use a cluster of strokes to draw attention to detail. The Vanara Sena constructing the Rama Sethu bridge is an example. This is the only image where the artist uses the written word ‘Rama’ in Devanagiri and places them across the image to denote construction of the bridge.
In contrast, Parameshwar Raju uses two simple strokes on an empty canvas while introducing Hanuman. In fact, white space is used significantly to give a new dimension to story telling. The positioning of people playing drums around Kumbakarna to wake him from his slumber conveys a sense of playfulness. The depiction of war scenes is noteworthy in its use of calligraphy to convey brooding, urgency and swift flying movements of the weapons.
(Poosapati Parameshwar Raju. Photo: K. Ramesh Babu)
The drawing of Manthara’s advice to Kaikeyi, explains Parameshwar Raju, was a tricky one. He had to try several strokes before he got Manthara’s hunch right.
To a layman, the strokes appear simple but the artist likens these thin-thick-thin lines to the beginning, continuance and end of life.
(The book is available at Saptaparni, Road no.8, Banjara Hill and at Parameshwar Raju’s studio. The artist can be reached at Saptaparni also has an exhibition of these paintings at its gallery all this month.)

(Report by Sangeetha Devi Dundoo for The Hindu)

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