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)

Stories of Delhi,Tales of two cities, Jungle Me and more..

NEWS

Jungle Me

Come and experience the contemporary art exhibition, ‘Jungle Me’, a selection of latest Green Graffitis by French artist Jonathan Longuet at Niv Art Centre. 

Jonathan Longuet works with a living plant paint, Green Graffiti, and on the development of autonomous evolutive paintings. Green Graffiti’s are made from algae, harvested at buildings feet, cultivated and applied to a substrate, canvas or a wall. These paintings are like a plant, growing slowly over time depending on conservation’s conditions. This project invites the audience to rethink about their integration to an ecosystem of everyday.

For this series, Jonathan Longuet questioned the notion of the urban jungle, density, movement, with a focus on the people evolving in such environment, their relationship with that world which defines their identity. To conduct this project, he began a conversation with a person who deals everyday with these issues - Manou, street fashion photographer. This exchange of ideas transformed itself into collaboration. Manou photographed  people in  the street of  India and Jonathan proposed  a vegetal version  of  these  subjects - a  kind  of  inventory   of  originality,  difference,  and evolving identities.

Jungle Me will also feature images of Reverse Graffiti. These are small interventions in the street, they are draws written with water pressure on a wall covered of algae. The visuals can last several weeks or months on the wall, until the next rain. These have made using stencils in various locations in Neb Sarai and have been photographed.

The exhibition is on view till 20th April 2014.

Rustic Hues

(work on display)

Magnitude Gallery, Bangalore captures the various moods and beauty of countryside and presents, the theme ‘Rustic Hues’. After the astounding success of its previous themes this is sure to delight the art lovers of Bengaluru. This exhibition showcases paintings of countryside which depicts images of women in different rural scenes that accentuates the beauty.

Rustic Hues depicts the countryside people in different situations from their rich cultural celebrations to the passionate and caring families at work. It also highlights on the different and diverse sections of rural people who strive to create a livelihood.

The artists have created with various mediums and tried to synergise their feelings of rural scenes to create a harmony. These paintings are sure to grace homes, offices and other living spaces as it is a hot favourite by many and usually blends with any rustic interiors.

The show is on till 31st March 2014.

Stories of Delhi

(work on display)

Delhi O Delhi Foyer, Delhi is hosting ‘Stories of Delhi's magnificent past set in stone photography’, a photography exhibition by Prerna Jain. 

Prerna finds her penchant in abstract photography, especially floral abstract. Colours, shapes and depth have a special attraction for her. Most of her work is an exploration of beauty with detailed or macro photography.

The show is on till 31st March 2014.

Tales of Two Cities

( work on display)

Kalakriti Art Gallery, Hyderabad is here with an exclusive painting exhibition for all art lovers in the city. The exhibition titled, ‘Tales of two cities’  brings to you some of the unique and eye-catching art works by a group of artists that are sure not-to-be-missed. The exhibition will include the works by creative artists like Anjani Reddy, Priti Samyukta, Rohini Reddy, Srinivas Reddy, Dr Vidhyasagar Upadhyay and Vinay Sharma.

The show is on view till 31st March 2014.

(News Reports by Sushma Sabnis)

FEATURE

Cultural commentary

‘Password of Kerala’, an exhibition of artist Chandranandan’s paintings, combines the culture of the State with artistic insights

(Artist Chandranandan with one of his paintings. Photo: Sooraj Rajmohan)

Trees wearing traditional mundu, a Kathakali performer whose upper body, for lack of a better word, blooms into an expanse of coconut branches and a humanoid figure merged with a tree that appears to provide sustenance to a casually lounging green elephant. These are some of the images that await viewers at ‘Password of Kerala’, an exhibition of paintings by artist Chandranandan, on at the Alliance Francaise de Trivandrum art gallery.

Chandranandan explains that the images endeavour to capture an essence of life in Kerala, but also tell individual stories. The tree-man and elephant are a representation of the relationship between parents and children in this age. “The tree providing nourishment to the elephant is a look at the plight of the average Indian father, who strives his entire lifetime to provide for his children, sacrificing everything and keeping nothing for himself, being slowly drained of his life force,” he explains cryptically. He then picks out a work that he describes as his interpretation of a mother, a female form set against a tranquil blue background resembling a planet and starry space beyond.

The works contain passing references to the culture of the State, some easily recognisable, some incorporating symbolism, and others featuring strange juxtaposition. An example of the latter is a yak roaming about between the trees in a rubber plantation, with Kerala’s ubiquitous rubber trees contrasting with the creature Chandranandan observed on a trip to Ladakh. A depiction of the traditional illam featuring various animals, and a frozen frame of an elephant ride gone awry add to the surreal nature created by the 18 works on display.

Chandranandan, a former employee of the Kerala Agricultural University and an expert in publication design, believes in the superiority of oil over acrylic colours. “While acrylic does have many advantages, oil is always in a class of its own. Despite the rigours of painting with oil, it is my medium of choice.” And in between his Kathakali performers and coconut trees, there are also subtle socio-political messages. Hidden deep within a fiery red canvas are two figures, one wearing a mundu and the other stark naked. “The king is naked,” he says simply, perhaps in reference to the Danish tale ‘The Emperor’s New Clothes’.

There are many more works that invite interpretation among Chandranandan’s collection, with the work ‘Starry, starry night’ serving as a simple balm for the mind after the workout it gets from the other images. The painting depicts a man and woman working a water pumping apparatus in the wee hours of the morning before dawn’s first light. “There are many sides to this, the tranquillity of the morning, the coordination required to operate the apparatus and even a shared love,” says Chandranandan.

The exhibition is on at the Alliance Francaise de Trivandrum art gallery from 10 a.m. to 6 p.m. till March 31.

(Report by Sooraj Rajmohan for The Hindu)

Serigraphs, Songs of Spring and more..

NEWS

Serigraphs

The Viewing Room, Mumbai presents the exquisite serigraphs of three renowned artists. The show titled, ‘Serigraphs’ displays the works of three artists who have contributed to the Indian art scene over the years. The artists are Jehangir Sabavala, Ram Kumar and Sakti Burman. 

The show previews on 13th March and is on view till 29th March 2014.

Facebook of Reclaimed Identities

Open Palm Court Art Gallery, New Delhi presents a solo show titled, ‘Facebook of Reclaimed Identities’. The show displays the art works of eminent artist Puja Kshatriya.
The show features distinct styled portraits of people the artist has been inspired by creating an intense archiving of human faces.

The show is to be inaugurated by Michael Heinz, Director, Austrian Cultural forum and previews on 25th March at 5:30 pm. 

The show is on view till 27th March 2014.

Songs of Spring

Kynkyny Art Gallery, Bangalore presents a show titled, ‘Songs of Spring’ a solo show of art works by artist Dhrubajyoti Baral. Dhrubajyoti's lilting, colour-soaked tempera dreamscapes, alive with birds, trees and animals, conjure the lush abundance of nature in full bloom. His trademark lovers embody the fevered enchantment, longing and intoxication that the season ushers in. 

The show previews on 15th March 2014 from 7:00 to 9:00 pm and the show continues to be on view till 27th March 2014.

(News reports by Sushma Sabnis)

FEATURE

State of affairs

B.D. Dethan’s painting exhibition, ‘Avastha’, is a dispassionate look at the deterioration of society

(Artist B.D. Dethan with his works. Photo by S. Gopakumar)

A glass filled with liquid has a disembodied human face floating at the bottom, while psychedelic shapes frolic in the background. The spires of a monument rise high above a city skyline, only to emphasise the large arms and face of a forlorn looking entity captured between them. These are examples of the imagery that currently adorn the walls of the Suryakanti Art Gallery at Sasthamangalam, where an exhibition of artist B.D. Dethan’s works is underway.

Dethan explains that the series, titled ‘Avastha’, is a reflection of his emotions related to the times we live in. “Society is at a point where basic values such as kindness and compassion are hard to come by. Open a newspaper or switch on the television and most of the things we see are appalling. It is this frame of mind that gave birth to this series, and while I have tried to keep my emotions and work separate, some things do seep through,” he says, pointing out the many vices he has depicted on canvas. The face in the glass is his take on the effects of alcoholism.

Other images border on the abstract as half-formed human shapes merge with those of animals and human vanity is represented through a clown-like visage that peeps out through a frame.

Dethan’s disdain for the trend of elevating men to the status of gods is evident in yet another work, while a museum exhibit of busts and remnants of civilisations is accompanied by his thoughts on time and culture. “We have seen many cultures come and go, and eventually this is all that is left,” he says indicating the painting, “it is meant to remind us that everything in the world perishes eventually, except time, which is the only constant.”

From civilisations to the present day, he makes an interesting observation on people’s reliance on medicines. “We are in a situation where we are often forced to take medicines and then suffer the side effects in some form. It is not something we can entirely avoid but not something that is particularly good either.” The work in question shows a human foot poised to crush a bottle of pills, deterred by a razor sharp blade waiting above the bottle, promising retribution.

Dethan goes on to elaborate his views on art in general. “I don’t believe painting is just a fine art anymore. Take the example of Picasso, where he fused cycle parts together to create art,” he says, referring to the Spanish artist’s ‘Bull’s Head’ artwork, where he represented the face and horns of a bull using a bicycle seat and handlebars. “The creative vision that led him to see that work where others saw just a jumble of cycle parts, that is what is paramount in an artist. Paint and canvas are no longer the only medium to express one’s vision.”

The exhibition is on at the Suryakanti Art Gallery till March 31. The gallery is open from 11 a.m. to 6 p.m. except on Sundays.

(Report by Sooraj Rajmohan 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)

Demo-Cry, Landfill, Pathway to Abstractism and more..

NEWS

Demo-Cry

(Work by Kesav Rao)

Lalit Kala Akademi, New Delhi presents a solo exhibition by artist Kesav Rao. The exhibition depicts the common man as the ultimate sufferer. His ordeal in dealing with the 'Babus', the 'Netas', their scams and his own troubled life. 

The artist by the medium of oil on canvas and charcoal and dry pastels on paper, has created artworks that resonate with the apathy of the common man. The art works capture the muffled appeal for everything remotely rational or even humane.

The show is on view till 1st March 2014.

Landfill

(Work by Vivan Sundaram)

The Harrington Street Arts Centre, Kolkata presents a solo show of eminent artist Vivan Sundaram. The show is titled, ‘Landfill’ which is a display of installation of photographs and  video art. The works are a series of videos and large format photographs and photomontages of a city composed of waste and garbage created inside a studio which was photographed later. It was videoed and this was the raw material of the videos. 

The photographs are so clear that viewers will be able to distinguish each and every item of discarded material or junk with which the make-believe city was created. 

The show is on view till 4th March 2014.

Adiwashi Warli Art

Artists Centre, Mumbai is hosting a solo art exhibition of the paintings by artist Anil Chaitya Vangad. This exhibition will showcase the exquisite adiwashi Warli paintings created by this talented artist who is based in Minnesota, USA. 

A self-taught artist, his works have been displayed all across India through various art exhibitions. Using traditional tribal art techniques and fusing them with new interpretations and scenarios, the works stand out as narratives to today’s world as seen depicted in the art works.

The show is on view till 24th February 2014.

Pathway to Abstractism

(Work on display)

Third Eye art gallery, Bangalore presents an exhibition of art works by two artists. The show is titled, ‘Pathway to Abstractism’ and on show will be the works of artists AK Swapan Sarkar and Rajesh V Sheth. 

The show focuses on vibrancy, sensitivity, richness and the depth of Indian art. The paintings highlight the creative nuances of artists with their varied styles, mediums and imagination. In our fast paced world where life is full of stress and high on commercialism, a good piece of art can provide solace, peace and joy to the viewer. It rejuvenates the mind and body.

The show is on view till 28th February 2014.

(News reports by Sushma Sabnis)

FEATURE

Ingredients of possibilities

Photographer Samar Singh Jodha explains how travelling around the world with simple eating habits helps

(Samar Singh Jodha at Diva Café in New Delhi’s Italian Embassy Cultural Centre. Photo: Monica Tiwari)

The day is headed towards the afternoon and the sun is at its shiniest in the diplomatic area of Chanakyapuri. But at Diva Café in the Italian Embassy Cultural Centre, where we sit with Samar Singh Jodha for an informal chat over lunch, nothing is in extreme with winter chill countering the warmth of the sun in the best possible manner. Samar, the nomad, is here from somewhere and will soon leave for somewhere — Nepal to be specific, where his parents live. Italian Embassy Cultural Centre at Chandragupta Marg is hosting his exhibition “Outpost”, which was first shown at the Venice Biennale in 2013, the year when India didn’t have a pavilion, nor many artists to boast of at the significant platform.

In terms of philosophy, it’s not a departure from Jodha’s previous works. In the past, he has documented an endangered tribe in Assam, made a project on India’s elderly, captured the lives of migrant workers that formed the Commonwealth Games work force, and how can one forget about his most seminal work on the Bhopal gas disaster, of which he plans to do a road show abroad and then bring it to Bhopal 30 years to the day after it was struck by the tragedy. “Outpost” was inspired by the habitat of migrant workers in India’s Northeast. “The discarded containers where the miners live in the Northeast become a metaphor for their struggle, pain and loss,” says Jodha, relishing salmon fillet cooked in a wood fired oven with orange and lemon reduction.

Stomach of steel

Travelling non-stop, how does he manage food? “Unlike what people think, I am not a great cook. I can’t cook much in fact. And since I prefer to eat home-cooked food, I just land at friends’ places. If you can’t avoid eating out then yes, restaurants is the only option, but I strictly avoid red meat, tea and cold drinks. And fortunately I have been blessed with a stomach of steel. This habit of oil pulling also does its bit so wherever I travel, I carry a small bottle of oil,” adds the lensman vouching for the freshness of the fish. Eating little helps too. Just one salmon dish and he is fine. He sticks to just plain water and even abstains from the flavourful ginger fizz.

Much before his gaze came to be fixed on the society with all its conflicts, Jodha was preoccupied with lifestyle photography. “Coming from New York, everybody thought I would be apt to do fashion. So I did a lot of work for designers and shot models like Sushmita Sen, Shyamoli Varma but while doing the work for Aman Nath and Ritu Kumar, I got a whiff of the other India,” recalls the photographer about changing tracks.

Ultimately, it’s upon the artist to make a choice, he says. “Whether to create beautiful work or say something and how you say that is also important. Specially in these times when everybody can take pictures from their phones and iPads, etc.; like I take so many pictures on my phone. I am glad that technology has enabled us to do this so I call whatever is happening around me as noise, in a good way.”

(Report by Shailaja Tripathi for The Hindu)

In-Between, Two Worlds, Ageless Art and more..

NEWS

Graceful Ageless Art

( work by Dr Nalini Bhagwat)

Jehangir Auditorium Art Gallery, Mumbai presents a group show of senior artists from different parts of Maharashtra. The show displays the art works of six painters. The works range from landscapes to portraitures and figuratives. The figurative works delve into mythological and historical narratives. On display also are abstracts rendered in water colour on paper. 

The participating artists are, Sukhasil Narayan Chavan, Dr Nalini Bhagwat, Jaysing Dalvi, Sudha Madan Uplekar, Shyamkant Jadhav and D V Wadangekar.

The works are a reminder of the rich art culture of India and present a definitive learning experience for the younger generation of artists today, in terms of techniques and variety of art practices. 

The show is on view till 18th February 2014.

9 X 9 Show

Karnataka Chitrakala Parishat, Bangalore presents a unique show titled, ‘9X9’. The exhibition has on display paintings and sculptures. The show displays works of contemporary artists in the country.

The participating artists are, Asurvedh, Braj Mohan Arya, Isha B.Bawiskar, Ramesh Thorat, Karthik Poojappa, Suresh Kumar, Vimal Chand, Vijaya Ved and Dr. Sneha Lata.

The show was inaugurated by Dr HV Madhusudhan, and Dr Preethi Kale. A catalogue was released on the occasion by Vani Manohar of ALEY on the 14th February 2014.

The show is on view till 20th February 2014.

In-Between

( work on display)

Sakshi Gallery, Mumbai presents a group show titled, ‘In-Between’. The show displays works by eminent artists from India and abroad. The participating artists are, Chuck Close, Dhurva Mistry, Gigi Scaria, Noriko Yamaguchi, Pablo Bartholomew, Ravinder Reddy, Rekha Rodwittiya, Shirin Neshat, Sunil Gawde, Surendran Nair and Vasudha Thozhur.

The show is on view till 3rd March 2014.

Two Worlds

Shridharani Art Gallery, at Triveni Kala Sangam, New Delh presents a two person show titled, ‘Two Worlds’. The two participating artists are Neha Talwar and Satish Sharma. 
The show displays the acrylic on canvas paintings of the two artists.

Employing different styles and techniques, the artists display a series which are exclusively their own. While Neha’s works have a dream like lyrical quality to them, the works of Satish border on figurative abstractions. Vibrantly coloured and replete with narratives the works are representations of the inner workings of the variations of artists’ minds and art practices.

The show previews on 24th February 2014 and is on view till 5th March 2014.

(News Reports by Sushma Sabnis)

FEATURE

For the people

Of late, many art practitioners have been feeling the need to engage with people who are beyond the white cube.

(The art wall at T2 terminal in Mumbai airport)

The optimists will tell you that something is better than nothing but the unforgiving few continue to lament the absence of public art in this country. So where do we stand? Despite several years of debate, the government has done little to address the issue; whatever has happened is largely due to private initiatives.

Of late, many art practitioners feel the need to engage with people who are beyond the white cube. “How many people go to the galleries? The same set of 500-600 people go for different kinds of cultural events. What about the others? We want to reach out to people irrespective of class, age, group,” says Aruna Adiceam, Cultural Attaché of the French Embassy in India, which organised the Fete de la Photo 2014, a huge photo-festival in public spaces in Delhi, Mumbai, Ahmedabad, Bangalore, Hyderabad, Goa, Kolkata and Thiruvananthapuram. In Delhi, different activities like astrophotography, mobile photo-booth, exhibitions will take up public spaces in and around Connaught Place. “I think photography needs to be outdoors. Art is for everybody,” adds Aruna.

A statement that Rajeev Sethi, the brain behind “Jaya He” at the T2 terminal of Chhatrapati Shivaji International Airport in Mumbai, would agree with. The Delhi-based curator and scenographer created a massive piece of public art that brings together artists, craftsmen, designers, architects in a merger of traditional and modern India. A three-kilometre art wall split into six themes displays thousands of artefacts and art works by the likes of Vivan Sundaram, Nilima Sheikh, Jogen Chowdhury, Riyas Komu, Manu Parekh, G.R. Iranna and Chittrovanu Majumdar.

“Art can’t be confined to godowns. It has to be shared with people. It’s not easy for a common man to just walk into an art gallery. So, yes we have more and more examples of public art, but there is a danger of it all being mediocre. How to select an art work and choosing a site are important issues. Different mechanisms have to be put into place,” says Sethi.  

Art has been taken to the streets literally in Delhi with the first edition of St.ART Delhi. Besides talks, workshops and discussions, an important element is the painting of around 80 walls in the city. One is the life-size mural of Mahatma Gandhi on the Delhi Police headquarters, a joint effort by Indian artist Anpu Varkey and German street artist Hendrik Beikrich. “It took six years for us to feel confident enough to put together a festival like this. People have become more responsive and tolerant of not just the street art but also the street artist. While there was some resistance to our Mahatma Gandhi work, Delhi Police really stood by us,” says Hanif Kureshi, the Delhi-based typographer behind the festival.

Public art could be a propagator for issues affecting the public as demonstrated at the just-concluded India Art Fair where Kolkata-based photographer Leena Kejriwal launched her public art campaign “M.I.S.S.I.N.G”. The eight-foot female figures will soon be taken to various public spaces in different cities to sensitise the public to the problem of disappearing girls. 

For sculptor K.S. Radhakrishnan, it is imperative that people are able to engage with the piece installed in a public space. His guru, the iconic sculptor Ramkinkar Baij, had given the country its most significant public art work: the two monumental figures of Yaksha and Yakshini, who flank the entrance of the Reserve Bank of India in New Delhi.

Even though Radhakrishnan recently created two huge public art works in Goa and Kerala — both were commissioned by the State — he isn’t particularly thrilled with the scene. “The sun-dial at a round-about park in Delhi or the steel mushrooms near AIIMS are not particularly great examples of public art. There was a lot of hope before and after the Commonwealth Games but nothing happened. In the name of public art, we still have statues of political figures and a few murals done long ago.” A few noteworthy additions in the last couple of years are Subodh Gupta’s “Line ofControl”, a giant steel installation at South Court Mall in Saket and Anjolie Ela Menon’s mural in an already arty Terminal 3 at the Indira Gandhi International Airport.

While the ambitious “48 degree Celsius: public.art.ecology”, the country’s first public art festival, was supposed to push the case of public art, not much happened. Pooja Sood, who curated the festival, was also part of an advisory panel constituted by the Delhi Urban Arts Commission to advise public bodies on commissioning public art pieces. “But nothing came of it. These bodies have no problems spending on art but they need guidance on how to go about it,”says Sood, who heads Khoj, an alternative space for art in the city. 

In a country where corporate support to art is minimal, the Foundation for Indian Contemporary Art’s (FICA) public art grant is crucial. All seven projects that it has supported so far had strong societal dimensions. “We want to encourage projects that explore ideas of working with communities, building societies and developing a healthy dialogue with the public on how they imagine shared spaces. Our aim is to engage with projects that have a strong social angle and allow interaction and engagement with the public,” says Roshini Vadehra, head of fundraising at FICA. 

( Report by Shailaja Tripathi for The Hindu)

A Journey Through Asia, Momentia and more..

NEWS

A Journey Through Asia

( work on display)

Tasveer and Artt’dinox, Mumbai present a show titled ‘A Journey Through Asia’, displaying photographs by Michael Kenna at the Artt’dinox. 

One of the world’s foremost landscape photographers, Michael Kenna has earned international recognition for his timeless, minimalist imagery. In his 40 year career, he has published over fifty books and monographs and exhibited in Africa, Asia, Australia, Europe, and North America. His photographs are included in over 100 permanent collections, including the National Gallery of Art, Washington, the Victoria and Albert Museum in London and MoMA San Francisco.

This will be Michael Kenna’s first set of solo exhibitions in India, the exhibition is organised by Tasveer and Arttd’inox. in partnership with Vacheron Constantin.

The show is on view till 21st February 2014.

Palette 2014

(work on display)

Fountainhead Leadership Centre in Alibaug and EdelGive Foundation (Edelweiss Group) present a day of art at the show ‘Palette 2014- Art under Palms’. This third edition of Palette 2014 is an Art for Cause event exhibiting an array of 400 canvases, sculptures and photographs from over 100 eminent artists across the country. The festival will see the works of Ajay De, Devyani Parikh, Jagannath Paul, Jehangir Jani, Laxman Aelay, Samir Mondal, Shanthkumar Hattarki, Shyamal Mukherji, Sujata Achrekar and Yusuf Arakkal among other renowned artists coming together for a noble cause. 

Palette 2014 will also exhibit winning photographs by renowned photographer Prashant Godbole along with award winning pieces from the Mumbai Press Club’s photography awards - Mumbai Moments 2014 and the national award winning photographs from the Media Foundation of India (MFI). The proceeds from the veritable feast of art, food and music will benefit ten nonprofit organizations furthering the cause of education that are supported by the EdelGive Foundation.

The show is on view till 16th February 2014.

Tarang

Lalit Kala Akademi, New Delhi presents a group show of paintings and sculptures by contemporary artists of today. The show is titled, ‘ Tarang’ and is hosted by The Shrishti -Contemporary Art of India, Baroda.

The show is coordinated by Rupak Chaki and will be inaugurated by eminent poet and art critic, Keshav Malik. The participating artists are, Anirban Dhar, Arpita Das Purkayastha, Arjun Chaudhuri, Ajoy Dey, Biswajit Datta, Easha Dutta, Goutam Ghosh, Jagatjyoti Paul, Joydeep Bhattacharjee, Jnanendra Barkakati, Jhimli Nath, Mariom Akther, Monika Paul, Nandita Paul, Parmendra Gajjar, Rajashree Dutta Choudhury, Rashida Akther, Radhika Surana, Sohan Lal Sharma, Shabnam Mehra, Sumit Roy, Suresh K Nair, Sagar Roy, Satyendra Singh Banoi and Tinku Deb.

The show is on view till 21st February 2014.

Momentia

(work on display)

The Art Loft, Mumbai presents a solo show of artist Gaurav Bose. The show titled, ‘Momentia’ is based on varied themes such as the invisible relationship between art and science, faith and test,  joys and questions of life. 

The show commences on 15th February and is on view till 20th February 2014.

( News reports by Sushma Sabnis)

FEATURE

Art for the soul

Werner Dornik’s Bindu Art School uses art to change the lives of people affected by leprosy

(Some of the works done by students of Bindu Art School)

At age 17, Werner Dornik was excited about his trip to India; the Austrian had heard fascinating tales about the land’s rich culture and heritage. And while he did get a taste of both, it was the sight of lepers begging for alms at Varanasi that left an impact on him. “It was only after some research that I realised they were suffering from leprosy,” says Werner, a multimedia artist and curator.

His research on leprosy, apart from enlightening him on the disease and the stigma attached to it also brought out the fact that medication for this illness was expensive. Determined to help those with this illness with treatment, the artist held photo exhibitions to raise funds for the cause. However, once the government declared free treatment for such patients, he decided to help them in some other way.

In 2004, Werner approached social activist Padma Venkataraman with the idea of starting an art school for lepers. “Padma identified Bharatapuram, south of Chennai. Out of a colony of 1000 people at Bharatpuram, 700 were suffering from leprosy.”

Werner’s idea was to teach art to lepers so that they can be self sufficient and thus, Bindu Art School was opened in 2005 to those 25 and above. Their oldest student, right now, is 87. As for the name Bindu, Werner says: “Bindu in Sanskrit means a point or a dot. It is the unfolded universe; the start of creation.”

He adds: “When we first began class, there were just two, the following week there were four, by the end of the month there was a queue and we had to stop at 21 students.”

The students are given a monthly stipend as initiative for them to stop seeking alms for a living. While 60 per cent from the sale of their works is given to them, the rest is used to purchase art materials. “Thirty per cent out of the 60 per cent is used to fund the next batch of students.”

(Werner Dornik and Dagmar Vogl Photo: Liza George)

For most, it was the first time they were holding a pencil. The excitement and sense of pride they felt when they completed their first work had to be seen to be believed, says Dagmar Vogl, Werner’s wife, an art teacher. “The students are given a certificate upon their completion of five years at the school. This gives them a sense of achievement and pride. These students go on to teach the fresh batch of students at our school,” she says.

The students are given a free reign of the brush. “I don’t go into any technical detail in art and the students are free to paint what they want,” says Dagmar.

The paintings by the students were first exhibited in Chennai and have since travelled across India and gone abroad too.

The works are competitively priced. “When amateur artists can earn a tidy sum from their work, why not our students? I feel their works have more depth as they paint from their heart. Next month four of our school students will partake in an exhibition in Delhi,” says Werner.

Although he says he has no definite goal for the school, Werner hopes to tie up with companies to create calendars, postcards and the like carrying images of the students’ work. “Through this, we hope to promote their work and gather more income for them.”

Road Trip

The students of Bindu Art School will be arriving in the city on February 15 for an exhibition of their works at Alliance Francaise de Trivandrum. “They are all excited. For most it is their first time to Kerala. We have hired a bus and will be taking them to places in and around the city and will also be going to Kanyakumari,” says Werner.

Harmony of Expressions

Nature is a recurring theme at Pain to Paint, an exhibition of paintings from the Bindu Art School. Like D. Kaliteerthal’s frame, for instance, which shows thatched huts co-exiting with Nature’s green or K. Godavari which takes viewers to a forest where bees gather nectar from flowers. These frames however, come as a stark contrast to B. Ravichandran’s picture which has a black circle in the middle of the frame and abstract images of buildings, vehicles and the like around it. One wonders, if Ravichandran’s work is a dig at globalisation. N. Udayakumar’s painting in shades of grey feels like a tongue-in-cheek look at the Darwin theory as apes are shown in various human poses. The exhibition by 16 students of the school carries each of their names and photos under their work. The exhibition is on February 15th 2014.

(Report by Liza George for The Hindu)