New works of K G Subramanyan, Sukshm and more..

NEWS

New Works of KG Subramanyan

(Work by K G Subramanyan)

Seagull Foundation of Arts, Kolkata and Art Heritage Gallery, New Delhi presents the new works of legendary artist K G Subramanyan. The works on display are an assortment of various mediums the artist has been painting on and has created series using them, including paper, gouache on board, canvas and  reverse painting on acrylic sheets, which are his speciality.

Padmavisbushana KG Subramanyan or Mani Sir or Mani da as he is known affectionately by his students, fellow artists, and friends turned 90 on 5th February this year. K. G. Subramanyan has worked with diverse media and materials, exhibiting extensively both within and outside the country. He is known as much for his wide-ranging scholarship as for his artworks which are full of wit, subversion, eroticism and critical social commentary. 

A major retrospective of his work was held at the National Gallery of Modern Art, New Delhi, in 2003. He has been part of the arts faculty at M. S. University, Baroda, and is Professor Emeritus at Kala Bhavan, VisvaBharati, Santiniketan.

The Seagull Foundation for the Arts is travelling an exhibition of 90 new works to celebrate the life and times of this amazing personality. The exhibition opened in Baroda and will now be in Delhi at Art Heritage from 29th March to 20th April 2014.

A Veiled World

(Work by Shilpa Nikam)

Jehangir Art Gallery, Mumbai presents a solo show of works by artist Shilpa Nikam. The J J School of Art graduate presents her recent works of abstractions. Shilpa’s abstracts are a reflection of her relationship with nature and the existential world. 

Her art works are a mirror of her inner world which she sensitively reveals and conceals as windows in her works. The abstracts are medium sized and replete with textural nuances and contrasting depth with the occasional foray into hints of chiaroscuro. The palette the artist has opted for plays a pivotal role to the artistic expression and in spite of the references and influences of nature on the artist’s mind, the use of the obvious colour of ‘green’ to depict nature, is absent. Blues, whites, off whites, buff, sharp and dull reds yellows, blacks and deep greys constitute her palette. 

Unlike many abstractionists,  she refrains from using heavy symbolic forms of any kind, relying completely on composition, texture and colour. The layers and the window like outlets seem to play peekaboo with the viewer, hinting at the veiled world of the artist. 

The show is on view till 1st of April 2014.

Sukshm

(Work by Kumar Vaidya)

Art Gate gallery, Mumbai presents a show of recent paintings by Kumar Vaidya.

The show is titled, ‘Sukshm’, which the artist has recently created. The works are exclusive abstractions, rendered in various mediums, with nuances of the dark and light in them. The works evoke an emotional response in the viewer through their intricate renditions, layers and colour splashes. The viewer is left with the need to explore more realms of depth fearlessly through the textures and works.

The works are on view till 29th March 2014.

(News reports by Sushma Sabnis)

FEATURE

Portraits of a city

Kalakriti opens its second gallery featuring works of artist Ram Kumar, including the celebrated Benaras series

(A view of the new gallery by Kalakriti at Trident, showcasing an exhibition of paintings by Ram Kumar)

The path leading to the new gallery space by Kalakriti, at Trident, is adorned with three arresting works of one of the most recognised veteran artists, Ram Kumar, of the Progressive Artist’s group. One of the paintings is a rare figurative work by the artist who later embraced abstracts. A painting showing youngsters clad in formal black suits, against the city at night, stands in contrast to the more vivid portraits of Benaras.

The abstract cityscape series on Varanasi has been celebrated over the years for the artist’s individualistic take on a city that left a lasting impression on him. Benaras, Ram Kumar felt, blurred the line between life and death. An abstract, dated 1993, has the artist painting the ancient city standing witness to all that happens on the river, teeming with people and boats.

(A view of the new gallery by Kalakriti at Trident, showcasing an exhibition of paintings by Ram Kumar)

Though the Benaras series has been discussed by art critics over time, observing these images at close quarters is an experience to be cherished. The artist draws attention to the many facets of the city with his astute use of colours and textures. A cityscape showing rows of houses in muted shades of beige, brown and yellow juxtaposing the water is the artist’s way of emphasising the plight of widows who came to the holy city to die; it is an impression of the sombre side of the city where dead bodies await befitting funerals.

In some paintings, Ram Kumar uses solid hues to denote the vibrancy of the city and in others, using black, grey and white, he paints sordid images, reflecting on what he perceives to be ‘a ghost town’ with its narrow, crowded alleys. The strokes vary with the hues, meditative in some cases and turbulent in others.

In his later paintings, dated 2010 and 2013, Ram Kumar chose happier tones to showcase landscapes, perhaps denoting his shift in views. ‘Trancescape’, featuring a selection of works by Ram Kumar, will be on display till April 30, at Kalakriti’s new gallery, Hotel Trident, Madhapur.

( Report by Sangeetha Devi Dundoo for The Hindu)

The Calcutta Diaries, Glenfiddich Award Finalists, Balcao and more..

NEWS

Glenfiddich Award 2014 chooses five finalists

( Finalist artist Tauseef Khan with his work)

Glenfiddich announced their five finalists for the Glenfiddich, ‘Emerging Artist of the Year 2014  Award’. The Glenfiddich Emerging Artist of the Year award is the biggest art award in India and in its third edition this year has announced the names of five finalists. The five finalists for this year’s Emerging Artist of the year 2014 are, Tauseef Khan, New Delhi, Sirivella Pragathikumar - Baroda (Vadodra), Shrimanti Saha - Baroda (Vadodra), Ravishankar - Chennai, Chetnaa Verma- Noida.

The five shortlisted artists chosen from Baroda, Chennai and New Delhi will present a group show ‘Five for the Future’ at Gallery Nature Morte, The Oberoi, Gurgaon on April 4, 2014. Chosen by a distinguished jury, one of them will be declared the winner of the coveted award. 

The award has a total value of INR 10,00,000 – it includes INR 1,00,000 cash, three months residency in Scotland with a monthly stipend, materials allowance, travel, accommodation, and culminates with a solo show at Nature Morte in 2014. 

Nostalgia

Rabindranath Tagore Centre, ICCR, Kolkata hosts an exhibition of paintings, sculptures and photographs by artists from Bharat Kala Kendra by 29 artists. The show is titled, ‘Nostalgia’ and displays an eclectic mix of unique artworks.

The artists participating in the show include Tapan Ghosh, Bimal Kundu, Anindiya Paul, Badal Paul, Lakshmi Shaw, R.P. Halder, Ashoke Mullick, Pradip Rakshit and Sourav Nandy.

The show is on view till 28th March 2014.

Balcao

Dhoomimal Gallery, New Delhi presents an exhibition of artists from Goa titled, ‘Balcao’. The show displays works by legends from Goa and the contemporary artists of today’s generation. On display at the show are select works of FN Souza with an eclectic assortment of art works by today’s Goan artists.

The show is curated by artist Subodh Kerkar and he would be presenting a talk on the history of Goa at the show. The show also brings to light Goan folk music and cuisine to delight the viewers with a complete art and cultural experience.

The show previews at 6 :00pm on 2nd April and will be on view till 15th April 2014.

The Calcutta Diaries

( Work on display)

Sakshi Art Gallery, Mumbai presents a solo show of photographs by eminent photographer, Pablo Bartholomew. The exhibition titled, The Calcutta Diaries’ is a selection of photographs from the archives of the photographer of his years in the mid 1970s.

The suite includes his documentation of the Haka Chinese community of South Calutta, his interaction with Satyajit Ray, during the shooting of his cult film, Shatranj Ke Khiladi, and images of his aging grandmother and distinct narratives exclusive to the City of Joy.

Born in New Delhi, 1955, Pablo Bartholomew trained as a photographer from his father Richard Bartholomew, an art critic, photographer, poet, painter and curator.

The show is on from 5th April 2014.

(News reports by Sushma Sabnis)

FEATURE

Vedanta in visuals

Jayadeva wanted to channelise his talent in painting to visually translate spiritual works

(Jayadeva has 41 visuals for each of the shlokas. Photo: Murali Kumar k.)

Legend has it that the Soundaryalahari was given to Adi Shankara by God Shiva and on the way it was snatched by Nandi and torn into two halves, one of which Nandi kept. When Adi Shankara went back to Shiva and told him what happened, God asked him to write the second half, which is what is today, known as the Soundaryalahari.

The first half, comprising 41 shlokas, is considered to be the Anandalahari. The whole poem is written in praise of the Devi or the feminine primordial cosmic energy.

Hunasagahalli Jayadeva, in a first, has brought these shlokas to life by creating 41 paintings to depict each shlokha. Jayadeva then collated his paintings into a book, which he has self-published, calling it the Sri Soundaryalahari-1 Anandalahari in Visuals. Jayadeva also accompanies each shloka with a trilingual translation.

Dr.Gururaj Karajagi, Chairman, Academy for Creative Teaching, shares the story of the Soundaryalahari in his foreword for the book.

“My father was a philosopher and teacher and my childhood was filled with discussions on philosophy, from the life of Adi Shankara to the Upanishads. So when I realised I could paint, I though why not make visuals on these thoughts,” says Jayadeva, a retired art teacher. He has previously painted on sections of the Upanishads, recently exhibited at the Karnataka Chitrakala Parishath. “The Anandalahari talks about self-realisation through the yogic chakras, in order to realise universal parenthood,” says Jayadeva.

And the universal parenthood, as he shows in the painting of the first shloka, is the union of Shiva and Shakti, primordial cosmic energies that are responsible (according to Vedic scriptures) for the creation of the universe.

The painting depicts the Indian trinity of Brahma, Vishnu and Shiva who are considered responsible for the creation, preservation and destruction (transformation) of the universe. The painting shows Brahma and Vishnu bowing down to the image of another Shiva (seen here with his consort Shakti) pouring forth blessings, while a third Shiva established seated near the trinity is shown deep in meditation. “The three figures depict the trinity in this yuga (age). After the cosmic dissolution when this world cycle ends, there will be another trinity. But Shiva-Shakti, being universal consciousness are eternal, and will once again, recreate the world. That is the meaning of the first shloka,” explains Jayadeva, who began working on the sketches in 2006 finally completing his work in 2013.

“The book is a prayer rendered to the celestial parenthood for the protection of the universe. The book also shows how anybody can become self-realised. I have tried to incorporate the main ideas of the book through the visuals for everybody to understand,” he explains.

In one of the images, of the Devi (as Sri Devi Tripurasundari), she is shown carrying a bow, arrows, a noose and a goad, as a representation of the law of karma.

“The book also signifies the importance of inner peace. Just a thought of the divine, brings mental peace. Once we are peaceful, we can then go and bring peace to others. In this philosophy it is believed that we should be able to live in the world, at the same time realise our true nature. That is the message here.”

Jayadeva is now working on a book depicting the shlokas of the second part of the Soundaryalahari.

Sri Soundaryalahari-1 Anandalahari in Visuals is available for Rs. 375 at the Sapna Book House, Gandhinagar; Vedanta Book House, Chamarajpet and Ankita Pustaka, Gandhi Bazar. For details, contact 944879750.

( Report by Harshini  Vakkalanka for The Hindu)

Clay at the Attic, Feminine Narratives and more..

NEWS

Audio-visual by Jagannath Panda

(work by Jagannath Panda)

Chandigarh Lalit Kala Akademi, hosts an audio visual presentation by artist Jagannath Panda at the Government Museum & Art Gallery. 

The artist is known for creating images that are deceptively simple. Often, his works consist of light, linear drawings and melting of liquid shapes placed on the surface. At the same time, the works also reflect conflicts between ecology and development, nature and technology. Panda's works are often inspired by his immediate surroundings: Orissa, his native state, and his current home in chaotically urban New Delhi. Through his art, Panda brings together many binary opposites, nature and culture, the urban and the rural, tradition and innovation, and the figurative and the abstract. In his works he brings together these opposing scenarios to form a coherent whole through deft colour treatment and a personal aesthetic sensibility. Animal life also plays an important part in the artist's circle of motifs. Animals represent people, gods, or the cycle of life. 

The audio visual presentation will take place on 31st March 2014 at 5:30 pm.

Clay At the Attic - 3

The Attic art space, New Delhi is presenting a pottery exhibition that will be showcasing art works by nine contemporary artists. The artists whose works will be displayed at this exhibition are Akila Chungi, Nausheen Bari, Kaveri Bharth, Neha Pallarwar, Shayonti Salvi, Ranjita Bora, Sylvia Kerkar, Veena Chandran and Tejashree Segvekar. The show is curated by Ray Meeker, and this exhibition offers a wonderful experience for art lovers in the city.

The show is on view till 29th March 2014.

Ladakh—The Land of Mountain Passes

The Birla Academy of Art and Culture, Kolkata will be hosting an exhibition of paintings and photographs by Sasanka Ghosh and Kakoli Dey, respectively. Their works capture the landscape, people, culture, architecture and wildlife of Ladakh.

The show is on till 30th March 2014.

Feminine Narratives

( work on display)

Malaka Spice Art Gallery, Pune presents an exhibition of paintings by Chetana Chaudhari-Sudame. Chetana is an artist with her own style of figurative painting. Her mostly self-taught pursuit of excellence in art has added facets of learning under artists of repute in India and in UK at the Slade School of Art,(UCL), London. 

Her paintings explore the feminine subtleties inspired from folk painting styles of India and are a celebration of colors and enhance the finer moments of the feminine life. Using various media, from oil pastels to ink and acrylic to oil, is her forte.

The show is on view till 31st March 2014.

( News reports by Sushma Sabnis)

FEATURE

In search of the missing

Interview: At Art Dubai, Indian origin artist Hajra Waheed unveils the second chapter of her ongoing novel-like work based on the issue of migration.

( A work by Hajra Waheed)

Hajra Waheed was born to Indian parents in Canada. The artist grew up in Canada and in Saudi Arabia. Educational pursuits took her to the U.S. and then back to Canada. This diversity can perhaps explain how Hajra’s art eschews regional trappings so well.

The artist is exhibiting at the eighth edition of Art Dubai, a significant platform for the visual arts from the West Asia, North Africa and South Asia regions. Hajra is being presented by Kolkata’s Experimenter gallery.

“I think having been raised in different places has enabled me to look at various aspects of myself,” says Hajra, who had her first solo in India last year where she showed different pieces from the same body of work.

Because she finds it problematic to situate an art work in a particular region, her work ends up having a universal resonance. “I don’t look at myself coming from a particular region. If I did then the narrative would have been very channelled,” she says.

Describing the “Sea Change” series as a long novel which will unfold over the years, the young artist says the India show was an introduction of the narrative. The plot deals with people who disappear during their journeys, and at Art Dubai, Hajra’s series “Sea Change Character 1: In The Rough” becomes a little specific in introducing one out of nine characters who go missing.

Based on the real account of disappearance of a large group of people travelling by sea, Hajra does a take on migration and issues around it. Her vivid experiences of, particularly, living in the Saudi Arabian oil compound with many restrictions owing to gender and nationality, inform her art practice.

( A work by Hajra Waheed)

So, “Returned” is a set of 24 works on paper, which with collaged photographs of rocks, landscapes, accompanied by some text, qualify to be called minimalistic.

“Co-ordinates” is a set of steel slide viewers — handcrafted wooden boxes — inside which can be seen an image (found film, cut and reassembled) of a landscape.

The material she uses helps her in elaborating the narrative. Found objects, aged paper, gifted things often make it to her work (like the family photographs gifted to her by a friend that were used in “Entranik Anouchian Passport Drawing”, portraits of men and women, now in the permanent collection of the Museum of Modern Art, New York).

“I notice that the materials that have existing history have a much more mature way of working,” says the artist, who is also doing what she describes as a live installation at the venue. “It is like a floating lantern which comes alive. I collaborate with a shadow puppeteer and we interact with shadow and light,” explains Hajra, who will be performing on a boat floating in the water body at hotel Madinat Jumeirah, the venue of Art Dubai.

Indian presence at Art Dubai

Bangalore-based artist Anup Mathew Thomas has won the Abraaj Group Art Prize along with four other artists from different countries.

The commissioned work, “Nurses”, a set of photographs of nurses, is also on display at the venue.

Sunoj D, another Bangalore-based artist, and Mumbai-based art collective Clark House Initiative are part of Art Dubai Projects.

Then there are Indian galleries like GallerySKE, Experimenter, Chatterjee and Lal, Jhaveri Contemporary, etc, which have booths at the fair.

(Report by Shailaja Tripathi for The Hindu)

Waste Side Story, Entering the Now, Inner Terrain and more..

NEWS

Waste Side Story

( work on display)

Akar Prakar Gallery,  Kolkata, presents a solo show recent works by eminent artist Debanjan Roy. The show titled, ‘Waste Side Story’ is curated by Paroma Maiti.

The artist has tried to depict the concepts of ‘waste’ in various influential elements, and depicted them through a range of mediums and artistic expressions. From mediums as varied as drawings, sculptures and quirky installations to literally portraying useless objects such as toilet-cleaning brushes, are however laced with subtle undertones of sexual allusions.  All of these could be the results of ‘a’ particular type of society – its political hue tinted with multiple identities of gender, class or religion. The fact that he keeps this zone a grey one makes the works even more alluring.

His sculptures in wood also depict the state of objects, effect of prolonged use, abuse, and subjugation to the relentless squeezing out of its last bit of functional capacity – has been shown without any sympathy, just as it is. The artist likes to look at things from both sides – so he makes a whole ensemble of chic clothes – made out of wasted packets and covers. Debanjan Roy’s solo show is not a mere drab docu-articulation of things turned into waste but more a peek inside the gruesomeness of the human mind and an exploration of the layers of ruthless violence suppressed in its subconscious.

The show is on view till 18th April 2014.

Beyond Horizons

(work on display)

Convention Foyer, Habitat World, New Delhi presents a solo show of oil paintings on canvas by artist Yograj Verma. Titled, “Beyond Horizons” an exhibition which is solidly distinctive from the present swing of the modern art. 

This is the seventh endeavour by Yograj Verma, an artist who develops the thoughts about Indian mythology and embeds those insights by making the canvas and the colors alive. He interpolates the Incredible Incarnations of almighty to uphold the concept of the divine and the myths in the present scenario.

The show is on view from 24th March to 27th March 2014.

Entering The Now

(work on display)

Kamalnayan Bajaj Art gallery, Mumbai presents an exhibition of works by the artist, Rachna Toshniwal, along with veteran artist, Surendra Rao, and visiting Belgian artist, Kris Vandenberghe. The artists will work together at the gallery making art, swapping techniques, and sharing the joy of the creative process. Anyone interested could join in this collaborative artistic space.

‘Entering the Now’ is Rachna Toshniwal's first solo show wherein she explores the intertwining emotional threads of merging, separating, and connecting with the self and other. Through her artwork, Rachna finds a new language – a new way of relating while taking a radical step towards change.

The show is on view from 24th March to 29th March 2014.

Inner Terrain

( work on display)

Icon Art Gallery, Hyderabad presents an exhibition of water colour paintings by artist Akshat Charate. The show is titled, ‘Inner Terrain’ and displays the exquisite and unique art works of the artist.

The works rendered in the humble water colour medium portray distinct narratives in their figurations. The vibrant colours and specific depictions make for an interesting view.

The show is on view till 3rd April 2014.

(News reports by Sushma Sabnis)


FEATURE

Inside the artist’s studio

Workplaces offer unique insights about a person, be it an artist, writer or accountant. Zeenab Aneez goes studio hopping to see what artists of the city have to say about their personal nooks

(Priyanka Aelay at her studio. Photo: Nagara Gopal)

A typical day at the shared studio of artists Parameshwar Raju and Koeli Mukherjee in Masab tank begins with a glass of chai. “While some of the work happens in the studios, the ideas come to us in the oddest of places,” says Raju, who carries his broad-nibbed pens and notebooks with him at all times, like a mobile studio of sorts. “Some of my works happen on flights from Hyderabad to Delhi,” says the artist. Apart from finished works and black canvases, the studio is littered with books on culture theory and mythology - research for Raju’s work, which is curated and documented by Koeli. While Raju’s style is defined by controlled strokes and in depth research, Koeli’s is free flowing, evolving with each stroke of the chiselled bamboo.

(Artist Fawad Tamkanat at his studio. Photo: Nagara Gopal)

Fawad Tamkanat’s space is tucked away in a cosy corner of Banjara Hills. The walls of the little space are lined with finished pieces, works in progress, posters from group and solo shows across the country and world and a few of his daughter’s drawings. Fawad is currently working on a series depicting scenes from the street. “I have a routine; every morning whether I get up late or early, I pack my food and water and come here. I work till about 11 p.m. almost every day. I have a studio in my home as well but I prefer to paint here because here I can entertain people who want to see my work or watch me paint. I have been here for the last 15 years and have grown quite attached to it; it’s a small space but there is enough natural light. My friends are free to walk in the evenings and chat while I work. I enjoy that so long as the conversation is not about films or cricket.”

(Artist, Deepa Nath at her studio. Photo: Nagara Gopal)

Priyanka Aeley’s studio is nestled in a nondescript apartment in Somajiguda. “I don’t want things to be too neat here with just the one canvas that I am working on. I like it that the other works, incomplete and complete ones are here, that there are rolled up canvases here; that gives me the motivation. I have a lot of books here – so whenever I want to relax or take a break from work I can sit back and flip through something. You keep changing the studio space as well; there is a lot of experimentation happening because you don’t have to worry about anything else as in a home. It feels like a studio to me only when I personalise. The moment I come back here, it’s completely about work. I leave everything else back home; no other ideas follow me here.”

(Artist Koeli Mukherjee at her studio. Photo: Nagara Gopal)

Artist Deepa Nath’s studio is a tidy little space that she calls her ‘hideout’.

(Calligraphy artist Parameshwar Raju at his studio. Photo: Nagara Gopal)

“This is basically my hideout where I want to be completely cut off from my family and friends; in fact none of my friends even know this place, I don’t entertain anybody here. That I live so far away helps. I just want to be with my work and my art books. I play music; sometimes classical, sometimes some old Hindi songs. It takes time to get into the flow of painting something and if I am interrupted, I have to start again.”

( Report by Zeenab Aneez for The Hindu)

Durga, The Bonding of a Dream, The Iran Issue and more..

NEWS

The Bonding of Dream

( Work on display)

Gallery Space, Hyderabad presents an art exhibition of Samir Sarkar paintings that are all about creating shapes using different colors. The show is titled, ‘The Bonding of Dream’. This artist does not use any particular lines but his art works are all about using colors to achieve a desired result. The canvases look spectacular and they do express a plethora of thoughts and emotions.

The works rendered in figurative style and vibrant colors feature human figures in various actions like musicians etc.

The show is on view from 12th to 20th March 2014.

Durga

( Work on display)

The Gallery, Gurgaon invites art lovers for a special exhibition, ‘Durga – Dynamics of power, gender bias and a story of Widows in India’ by the experienced photographer, designer and art director Sharmistha Dutta. The show was launched on Women’s Day and will go on till the last week of March.

The exhibition celebrates Sharmistha’s latest works; a collection of photographs that highlight the emergence of women in India comparing them with the deity Durga. On the day of inauguration, there was a special preview of spring summer collection of Amyra by fashion designer Preeti Ghai over wine and cheese.

The show is on view till 29th March 2014.

The Iran Issue

(Work on display)

Studio 21, Kolkata presents ‘The Iran Issue’, a group show and printed quarterly comprising of 14 established and upcoming Iranian photographers, working within and outside Iran. The images include documentary and fictional narratives as well as art photography. The issue seeks to show Iran's connection with South Asian countries by dealing with varying aspects of democracy.

The photographs investigate notions of amnesia, censorship and identity through documentary, as well as staged formats. The ideas underlying the works range from encounters with the state, to a re-assessment of one’s personal life.

The show is on view till 29th March 2014.

Retrospective on Indian Cinema

( work on display)

The Hungarian Information and Cultural Centre (HICC), in collaboration with the Delhi Art Gallery, New Delhi, and curator Nupur Tron, present a photo exhibition named ‘Retrospective on Indian Cinema’. 

To mark the occasion of the centenary of Indian cinema this year, the photo exhibition will be showcasing several iconic and many never-before-seen images of actors, scenes, sets and locations during the filming of Satyajit Ray’s films as well as the filmmaker at work, taken over a twenty-five year period, as well as an array of images of regional films and actors.

The show is on view till 19th March 2014.

(News reports by Sushma Sabnis)

FEATURE

Life and dreams

Renuka Sondhi Gulati’s exhibition “The Phoenix Woman” exhorts women to pursue their aspirations while fulfilling their responsibilities

( Work by Renuka Sondhi Gulati)

Strong lines and soft colours; realistic drawings and abstract backgrounds; details and simplicity; busts mostly of women, at any age, with their lives and their feelings are all components of the exhibition “The Phoenix Woman” by artist Renuka Sondhi Gulati at Shridharani Gallery.

Renuka’s paintings and sculptures represent women of all ages, from childhood to old age. The message behind these figures is strong and simple: that time goes by, life goes on, but we are always there and there are no loopholes. One has to accept with serenity the flow of time and understand that what one does is the true beauty of life. The simplicity of her work is vivid. Renuka’s aim is to create an art which is easy to relate to, in which subjects are not overwhelmed by too many decorations. “The painting must speak,” she says. At the same time, however, her figures are very detailed and are evidence of an in-depth study of the representation of the human figure.

Metal elements often accompany her representations, and metal is seen as a metaphysical element that brings one back to reality: a symbol of the difficulty of freeing our thoughts and our dreams. The contemporary society with its needs and its commitments, affects women’s lives more than men. They are often expected to be good mothers and good housewives, taking care of the needs of the children and the family. A woman, in most of the cases, has to be stronger than a man to achieve her dreams. A man on the contrary will not be considered a bad father even he works all day and gives priority to his career while delegating family care to his wife.

When Renuka realised that art was her future, she knew she could not let her being a wife and mother prevent her from pursuing her passion. She understood that only a happy and successful woman can be a happy and successful mother and wife too; hence she began to practice, study and work hard. Her life and art have important messages for younger generations, especially women: do not let the roles prescribed by society stop you from dreaming and realise your ambitions — all it requires is hard work and dedication.

The exhibition continues till March 16, Shridharani Gallery, Triveni Kala Sangam, Tansen Marg, Mandi House, New Delhi, 11 a.m. to 7 p.m.

( Report by Daniele Pagani for The Hindu)

A Celebration of Lines, Formative to Recent and more..

NEWS

A Celebration of Lines

(Work by artist Krishen Khanna)

Sakshi Art Gallery presents a solo show of renowned artist Krishen Khanna. The show titled, ‘A Celebration of Lines’ displays a range of the artists monochrome drawings and canvases. 

Krishen Khanna’s figurative and evocative works address the social, political and historical contexts through a strong portrayal of people and stories about them, for instance scenes of pre-partition India. Bringing out personal conenctions with the people portrayed, such as the Indian revolutionaries in his neighbourhood, Khanna  builds a picture not just as an illustration of a memory, but as a historical entity. The narratives are vast and deep, full of nuances, iconic and subtle all at once. The artist tries to evoke the emotive strength through his lines and pencil strokes effectively creating in the viewer and the work an interaction and an anchoring. The exhibition also will have a reproduction of the artist’s monumental mural, ‘Chola Migrations’. This mammoth work stands at 72.5 ft and depicts the rich life and cultural history of the Cholas of South and is regarded as one of the largest murals in pencil on paper.

The show previews on 6th March and is on view till 5th April 2014.

Daydreams

Five Forty Five Gallery, Bangalore presents a solo show of art works by artist Pradeep Kumar DM. The show is sponsored by the Department of Kannada and Culture. The show titled ‘Daydreams’ displays the vibrant and illustrative art works by the artist.

Pradeep is a Karnataka based artist and he graduated from the University College of Fine Arts, Davangere with a B.V.A Degree in painting. He also has an M.V.A Degree in Painting from Bangalore University.

The show is on view from 7th March to 4th April 2014.

Formative to Recent 

(Work by artist Jogen Chowdhury)

Cima Art Gallery, Kolkata is hosting the complete works of eminent artist Jogen Chowdhury. The exhibition is titled, ‘Formative to Recent’ and attempts to retrace the journey taken by the artist in his art practices and through different times and influences, which unfold in the range of art works.

On display are multi medium works, from paintings to film posters, drawings, etchings and lithographs, though having been displayed before in other venues, this show acts almost as a retrospective of the artists work.

The show is on till 29th March 2014.

Tangential Traverse

Aakriti Art Gallery, Kolkata presents a group show of artists, titled, ‘Tangential Traverse’. The show will display the paintings and sculptures of eminent contemporary artists along with yesteryear legendary artists works.

The participating artists are  Ajit Chakraborty, B.R.Panesar, Badhan Das, Bijon Chowdhury, Bikash Bhattacharjee, Dharamnarayan Dasgupta, Ganesh Pyne, Gobardhan Ash, Gopal Ghose, Indra Dugar, Jamini Roy, Meera Mukherjee, Nandalal Bose, Paritosh Sen, Sarbari Roychowdhury, Somnath Hore and Sudir Kastagir.

The show previews on 7th March 2014 and is n view till 31st March 2014.

(News reports by Sushma Sabnis)


FEATURE

The Renaissance Man: CSMVS Director Sabyasachi Mukherjee

(Director of Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Sabyasachi Mukherjee)

By now Sabyasachi Mukherjee is used to being asked if he’s the famous designer. After giving a talk at Sophia College some months ago, Mukherjee was accosted by two girls. “One girl asked, ‘You are the designer?’” Mukherjee says. “I said, ‘Do I look like a designer?’” Indeed Mukherjee, who is the director of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS, formerly known as the Prince of Wales Museum), could not look less like a fashion icon. With his crumpled sky blue shirt, bristly moustache and nerdy enchantment of antiquities – he endearingly pointed out his favourite stone Shiva gana in the museum’s sculpture section – Mukherjee is more professor material.

Mukherjee, 49, is too self-effacing to admit it but the CSMVS entered a renaissance soon after he became its director in 2007. Suddenly there seemed to be regular activity at the CSMVS most notably in the form of a string of shows brought from museums abroad such as the British Museum and the Victoria & Albert. Over the years, it has shown exhibits of Chinese terracotta warriors, and the mummy of Egyptian temple priest Nesperennub; made room for the Jehangir Nicholson Art Foundation, a gallery of contemporary Indian art; and hosted displays of Persian antiques and Flemish paintings. Before 2007, Mumbaikars could not have imagined a Rubens coming to the museum, which was widely regarded as a fusty place that school kids paid a mandatory visit chiefly to see the stuffed animals and forget thereafter. As Mukherjee puts it, “Nowhere was the enjoyment element visible”.

This state of affairs was tragic as the museum has a spectacular collection of over 60,000 artefacts with gems like the Anvar-i-Suhayli, a 16th century Persian translation of the Panchatantra; Akbar’s personal armour; and some gorgeous miniature paintings. “There was no concept of the modern museum,” he says. “No concept of curated shows, interpretation, educational programmes, the museum as a space for social debate. American, European and some Asian museums were way ahead of us. In the 1990s they were talking about the global museum. We remained in the early 20th century.” Then the wave of globalisation, which dramatically altered our economy and popular culture, finally swept the shores of high culture. “Now foreign museum directors are visiting Indian museums,” Mukherjee says. “But we’ve lost many years.”

As a young adult, Mukherjee never imagined he’d end up spearheading a major Indian museum; he grew up in Bolpur, a small town in West Bengal that’s known for its proximity to Shantiniketan (it’s what Shirdi is to the Sai Baba temple, Mukherjee says). Thanks to Shantiniketan’s Vishwa Bharati, the university Tagore founded, the atmosphere there carries the charge of a deep artistic tradition. Mukherjee grew up in a family of teachers to be a lover of poetry. But it was chance and some youthful vacillation that led him to a career in the arts. He intended to do a Master’s in social work at MS University in Baroda, an institution renowned for turning out some of the best artists in the country. But when a cousin studying there urged him to get a degree in an artistic field, Mukherjee did an MA in ancient Indian history and archaeology and a second one in museology.

While studying museology, Mukherjee worked as an intern at the CSMVS in 1989 under Sadashiv Gorakhshkar, who was director from 1975 to 1996. Mukherjee described Gorakhshkar as his greatest mentor. “He had the spark to continue to work for the Prince of Wales museum,” Gorakhshkhar said in a phone interview from Vasind, where he now lives. “It was an outgoing museum – we had a lot of extracurricular activities and I thought he fitted into the brief. While leaving, I told him never to leave. I said no other museum offers what the Prince of Wales does.” Mukherjee took his mentor’s advice. He joined as a research associate in 1990 and has been at the museum since then.

One of Mukherjee’s obvious talents is fund raising. The museum functions autonomously and while it does get some money from the central government, it’s largely supported by individual patrons and corporate companies. Their largesse has paid for the classy plaza near the entrance designed by Rahul Mehrotra, for restoration projects and foreign shows and new galleries. Mumbaikars can look forward to two new galleries this year – one showcasing the city’s textile history and the other a gallery of prints and drawings that gallerist Pheroza Godrej and writer Pauline Rohatgi are giving the museum on a long-term loan. “Money comes with great ideas,” Mukherjee says.

Perhaps the real beneficiaries of Mukherjee’s vision and that of his splendid colleagues are the city’s kids. It’s common to see groups of school children being shepherded around a show and briefed by the museum’s education officer Bilwa Kulkarni. Some of these kids are exposed to art for the first time – they include the offspring of sex workers, construction labourers and BMC sweepers and are taken to the museum on field trips organised by CSMVS and various NGOs. “Our approach is to enlighten those who are not enlightened,” Mukherjee says. “A museum brings changes to human life. You come to interact with your past to understand the present and the future.”

(Report by Pronoti Datta for Mumbai Boss)