DEBATE - Agitating Students of Baroda and the Death of a Department Foretold..and more..

DEBATE

Agitating Students of Baroda and the Death of a Department Foretold

( The Online Campaign against Aqueel Ahmed by students)

Something is rotten in the Fine Arts Faculty, Baroda. Once upon a time this faculty was the breeding centre of talents and during the boom years it was one of the hottest destinations for campus recruiters. Being an alumnus of this faculty had given edge to the artists over those from other art colleges for the sheer number of talented artists, art critics and art teachers it had produced. In Baroda, those who have studied there know, learning never ended within the classrooms and libraries. It was extended to canteens, chai laris, artists’ homes and even at the boundary walls of the hostels. In those days anybody could approach any teacher for advice at anytime. Artists who lived in and around Baroda used to spend their time in the campus adding to the quality of the environment. Hierarchy and regimentation were alien to the daily lexicon of faculty parlance. What Hansa Mehta, the visionary Vice Chancellor who had initiated the establishment of this fine arts faculty in 1949, had envisioned got translated into a reality over a period of time thanks to the selfless hard work imparted to it by several stalwarts in the Indian art and pedagogy scene.

Today things stand at a different juncture here; almost at a point of crisis. Students in the sculpture department agitate to remove their head of the department and the only permanent teacher, Aqueel Ahmed, from his post. During an earlier crisis in 2007, students had wanted a teacher to be retained who had been suspended by the authorities for him taking a stance against the right wing fundamentalists. Today, they want their teacher to go for his authoritarian attitude, nepotism and deviant behavior. Female students complain against him of sexual harassment and the students in general speak of his casual and callous attitude towards teaching. An online petition is already on in the social networking sites asking like-minded people to sign in for his removal. Authentic sources say that the controversial teacher has been suspended and would be facing an enquiry committee appointed by the University. 

(Aqueel Ahmed )

Aqueel Ahmed may be suspended or in the worst case scenario, he may be even reinstated with more power. But the problem does not end there. The sculpture department has been one of the best departments in Baroda. Illustrious sculptors like Pradosh Dasgupta, Sankho Chowdhury, Mahendra Pandya, Rajnikant Panchal, Raghav Kaneria and Krishna Chatpar were the teachers there. Many important contemporary sculptors have come out of this department; Himmat Shah, C.Jagdish, Ravinder Reddy, Latika Katt, Valsan Koorma Kolleri, Prithvipal Sahdev Ladi, N.N.Rimzon, Alex Mathew, Reghunathan, T.V.Santhosh to name a few. Some of them have even taught in this department as ad-hoc teachers. Slowly, they all went away, leaving this department orphaned.

We can have our own reasons to support or neglect the present student agitation. But any right thinking person in our art scene should ask one pivotal question: what caused the erosion of teaching talents from this department? This would come with a second question: why the university or the faculty authorities promoted ad-hoc-ism? Even if ad-hoc teachers were trialled and tested, after proving their worth not only as better teachers but also as worth reckoning contemporary artists, why were they not made permanent in the department as in the case of the painting department? Some people may cite the Chandramohan issue of May 2007 as a watershed. It is often said that the fall of Baroda school started with the exodus of talented people from Baroda to other places like Delhi. It is not completely true as there are instances that many successful contemporary sculptors who had taught in Baroda lost interest as they were not made permanent faculties and left the place even before 2007.

The students who agitate today say that they don’t even get to see a good sculptor in the vicinity of the sculpture department as the head of the department indulges in nepotism and promotes only the yes-sir types. In short, one could say that there is no good ambience in Baroda school any more. Fear psychosis that has engulfed most of the institutions has also affected this school which had been absolutely liberal once upon a time. Today, no artist living in Baroda likes to visit the faculty regularly. No visiting artists or art critics dare to drop in due to entry restrictions. If at all there are some slide shows taking place today by the visiting artists, they happen because of the good offices of some of the well meaning teachers still left there. 

( Faculty of Fine Arts, Baroda)

This situation should change. To facilitate the change there should be opinion generation in the art scene. The people who could influence the policy makers of the MS University should come forward to lead the agitation. When students agitate they are faced with the threats of either rustication or failure in the examinations. Another important thing is that if there are technical difficulties to appoint permanent teachers in any department, as they do it in the (fully) developed countries, the authorities should take measures to invite the most important artists/pedagogues as short term visiting faculties to give tutorials to students on an individual or cluster basis. Not far from Baroda, in Ahmedabad, most of the institutions including the NID and CEPT invite important scholars from their respective fields to give tutorials to the students.

Baroda is not the only rotting art institution in India. There are several. People with no adequate qualifications teach in various departments. Once the job is assured, their whole effort is to secure it further. Once that is done, they want to climb in the hierarchy. They flout the University Grants Commission’s norms even to cling on to their posts. Doctoral Degrees are bought to assure professorship. Boots are licked to be the next in the promotion list. Secrecies are maintained. Home cooked foods are served. Pallus are dropped. Smiles are exchanged. Fake documents are created. Political games are played. All these are done in the name of education. While medical colleges do not appoint quacks to teach the future docs, why quacks are posted in fine arts colleges that produce culture docs? Both we call professional courses.

When a government servant, for example, an engineer dies while on duty, his widow is given a job by the government, based on her qualification. But of course not as an engineer. But in art schools, dying-in-harness could fetch a widow with a degree in English Literature, even the job of an art history professor. None asks because none cares. 

JohnyML

NEWS

That’s All Folks!

( a work from the show)

Art Musings, Mumbai presents their exhibition titled, ‘That’s All Folks!’ a solo featuring recent works by Raghava KK. 

Raghava KK is a multi-disciplinary artist working in a variety of genres like painting, film, installation, iPad Art, interactive art and performance art. His work conceptually deals with the construct of identity, gender and sexuality within the structures of power, knowledge, and empathy. His visual metaphors in this show are derived from three points, the cartoon, the historical and the memetic, prodding an emotional response from the viewer to an exaggerated flattening of the Indian history, using caricatures and instructive rigidity of memes.

The show will be on view till the 25 the October 2013.

Natural Rhythms

( a work at the show)

Bliss Art Gallery, Pune presents a solo show titled, ‘Natural Rhythms’. The show displays scenery and line art paintings by artist Ravhi Songirkaar. 

The artist has tried to capture the movements of natural elements, like trees and leaves and branches, the ebb and flow of water bodies creating rhythmic patterns. Some of the works are in realistic figuration, using water colours on paper, while some tickle the viewer’s imagination with abstraction. The artist has tried to capture the beat of the urban rhythm of a day to day life and the quiet rhythm of a rural scenario as well.

The show is on view till 14th of September 2013.

Avighna Show

Icon Art Gallery, Hyderabad, presents a solo show of art works by artist Bala Bhakta Raju. 

The show titled, ‘Avighna’ has a specific theme, namely paintings of Lord Ganesha. 

The show displays the deity in various styles and mediums. The show also coincides with the annual Ganesh Festival to commence on the 9th of September and is a token of the devotion and reverence of the artist towards his inspiring deity.

The show previewed on the 6th of September an∂ is on view from the 7th of September 2013 to the 19th of September 2013.

The Dhaval Dhairyawan Retrospective

( a self portrait by Dhaval Dhairyawan)

Piramal Art Gallery, Mumbai presents a retrospective of photographer, Dhaval Dhairyawan 

whose untimely demise at the young age of 32 has prompted this show.

Dhaval captured and personified the speed and perfection of some of the world’s fastest and most glamorous cars against idyllic backdrops from Italy to Cherrapunji. This exhibition is an attempt to put together some of the artist’s best work, to recreate his many journeys and tell a number of stories about a road less travelled, at least by a super car. 

Dhaval was Chief Photographer at BBC Top Gear, India, and contributing photographer to Lonely Planet, UK and India. He died of an ailing heart in early 2012. 

The show commences on the 10th of September 2013 and is on view till the 20th of September 2013.

(News reports by Sushma Sabnis)

Mumbai-Evergreen Landmarks, A forgotten carpentry lesson and a love song, and more..

NEWS

Mumbai - Evergreen Landmarks

(Gateway - Rainy Season, by Sidhaling Ankalkot)

Gallery Pradarshak, Mumbai, presents a solo show titled, "Mumbai - Evergreen Landmarks"  by artist Sidhaling Ankalkote. 

Sidhaling Ankalkot is an Applied Art graduate from Abhinav Kala Mahavidyalaya, Pune and has worked as an illustrator for the last two decades. His work with pen and ink on canvas as well as paper is delicate and evokes strong references of an era gone by.

The artist works in both sepia tones and monochromes and takes immense pride in his true-to-life depictions of old historic places, forts and monuments, etc. With an occasional use of brush, Sidhaling is most comfortable using pen and ink on canvas, which he feels brings out the best in him.  

The show is on view till the 14th of September 2013.

A forgotten carpentry lesson and a love song

( A work by Sunoj D)

Gallery Ske, Bangalore presents a solo show of installation and art works by artist, Sunoj D. The show titled, ‘A forgotten carpentry lesson and a love song’ traverses the fertile planes of memories, once forgotten and reclaimed by time, in this exquisite collection of works. 

With agrarian activities as a backdrop, these works speak of the artist’s childhood relationship with his land, and the interactions with society and land today. The show displays some classical metaphors in the form of installation works in different mediums, drawings on fabrics, murals and graphite on paper drawings. 

Encircling a connect between land, person and environment, this show addresses the politics and poetics of space in multi directional movements of the familiar and common occurrences in time, space and society.

The show is on view till 5th of October 2013.

Po10tial -IV

(A work at the show)

Kalakriti Art Gallery, Hyderabad, presents a show of art works by a group of artists titled, ‘Po10tial - IV’. There are ten upcoming artists participating in the fourth edition of the show and hence the unique title.

The works in display are rendered in a variety of mediums and an array of styles of depiction. The subjects of the works vary from fantastical and mystical worlds to social issues, urban and rural divide, spirituality among others.

From styles of figurative to abstraction, the show displays  a range which is very diverse.
The participating artists are, Ashutosh Bhardwaj, Bhagyanath C, Gipin Varghese, Om Soorya, Ravi Kashi, Reji Arackal, Siji R Krishnan, Sujith S N, Suneel Mamadapur, Sunil Lohar.

The show commences on 11th of September 2013 and will be on view till the 30th of September 2013.

Digital art and photography

Emami Chisel Art gallery,  Kolkata, presents a solo show of photography works by photographer, Shankar S. The show has on display his digital artworks and photography works and prints.

The artist has experimented with various themes and collage like works which vary from nature abstractions using digital art skills and combining with photography. the outcome presents an interesting collection of art works.

The show is on view till the 16th of September 2013.

(News reports by Sushma Sabnis)

FEATURE

Imagination unleashed

Two exhibitions — one by M. R. Ramachandran, and another by students of Bhoomi art school — are on at the Durbar Art Gallery

( Works at the show)

M.R. Ramachandran finds beauty in the mundane. Inspiration, too. The retired technical officer from the Naval Physical and Oceanographic Laboratory (NPOL), Kochi, is a self-taught artist who is fascinated by everyday life. An exhibition of 50 of his works is on at the Gallery.

Time that presented itself with retirement rekindled Ramachandran’s interest in art. He began painting sights he saw around him, in acrylic and water colour. “I have always been interested in painting, but never found the time to learn it technically or practise it. Most of the works on display are those that I did this year.”

However, Ramachandran put his skill to good use on the job. He handled the design section of many of the projects for NPOL and one of them even won him a certificate of appreciation from former President APJ Abdul Kalam. It was awarded for the “design, development and induction to the service of the first indigenous submarine sonar” in 1999.

The show includes some of Ramachandran’s earliest works too such as the pencil sketches of former Chief Minister of Kerala R. Shankar and former Prime Minister Indira Gandhi, singer K. J. Yesudas, actor Bharath Gopi and a portrait of Rabindranath Tagore, which has been painted in enamel on X-Ray film. These works, he says, were done during 1970-80.

Ramachandran’s works do not follow the same formula. While one painting captures a peaceful seaside, another shows two women sitting on their verandah, peeling jackfruit. Yet another, shows a couple walking through a park. One of the largest paintings at the show is of the Kedarnath floods — an arresting visual of water eddying around a massive idol of Lord Shiva.

The show is untitled and is on till September 7 at the Durbar Hall Art Gallery.

Innocent colours

( Works at the show)

Green countrysides, brown hills and blue seas. People, animals and motor vehicles. Houses, sail boats and roads. When crayons and paintbrushes meet canvas, all the above mentioned appear in happy combinations. The painting exhibition put up by the students of Bhoomi art school back memories of childhood. Titled “Kuruthola”, the show has over 50 paintings and drawings by children under 12 years of age.

The show is not themed, giving a free reign to the young artists’ imaginations. “Children are extremely creative and sensitive, too. So, instead of imposing one’s own ideas on them, one has to find out what they are interested in and encourage that,” says V.K. Babu, the founder of Bhoomi, who has been teaching art for 30 years. He teaches art at MES Udyogamandal School.

He feels children are more into art these days, as the syllabus has incorporated art in a big way. “All you need to do as a teacher or a parent is identify the child’s interest in art and motive him/her to pursue it,” he adds.

Bhoomi art school has three centres — at Kakkanad, Udyogamandal and Edavanakkad. Babu hopes to conduct a large scale painting competition, camp and exhibition for children next year. “There would be paintings enough to fill up the halls of Durbar Hall,” he says.

The show is on till September 6.

(Report by Anasuya Menon, Photos by Thulasi Kakkat for The Hindu)

Brushstrokes of a Revolution, Chiaroscuro Fleur Scapes and more..

NEWS

Brushstrokes of a Revolution

( Work by Soe Naing at the show)

Sitara Studios, Mumbai presents a group show of Burmese artists, titled, ‘Brushstrokes of a Revolution’. The show displays works of around 12 Burmese artists. The participating artists include Soe Naing, Zwe Yan Naing, Co Thiee, Ye Min and Zaw Nyunt Pe, Eika Za Cho and many more.

Stirred by the political changes in Burma, this selection of paintings by contemporary artists from the country portray resilience. The display is replete with colour, chaos and courage. 
Each artist depicts a story through their artworks. The expressions and feelings of each artist can be seen in their piece of artwork created. A subjugated nation that is under the control of militant rule has been portrayed in the paintings.

The show is on view till the 8th of September 2013.

Invisible Lands

(Work by Madhuchanda Majumdar)

All India Fine Arts & Crafts Society, (AIFACS) New Delhi presents a solo show of artist Madhuchanda Majumdar, in collaboration with Calcutta Arts Club. The art show titled, ‘Invisible Lands’ is a traveling art exhibition of the artist’s works.

The artist concentrates her theme on nature in geenral, and hones in on the environmental and adverse factors caused to nature as of today. Her works also feature the indomitable spirit of nature and her destructive and regenerative healing properties through the art works.

The show is on view till the 8th of September 2013.


Annual Art and Craft Workshops

Coomaraswamy Hall of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, along with the Paramparik Karigar, present their annual art and craft workshop.

These workshops are a regular feature each year with the sole intention of propagating diminishing ethnic, tribal art and folk arts of India to eager learners, in turn preserving the culture and art form itself.
Like each year, this year too the master craftsmen and Padmashree award winning teachers of arts and crafts bring an array of workshops to the fore.
Along with the old favourites of miniature painting classes by Shri Shakir Ali and bagru printing by Lalchand Chhippa, new inclusions like shibori (or tie-and-dye) classes by Badshah Miyan, and  kalamkari workshops helmed by Shilapguru Gurappa Chetty have been added to the list of workshops available.

The workshops will be open to public till the 7th of September 2013.

Chiaroscuro Fleur Scapes 

( A photography work at the show)

Renaissance Art Gallery, Bangalore presents a two person show titled, ‘Fleur Scapes’. The show features black and white photography by photographers Monalisa Bhowmick and Parikshit Ghosh.

Exploring the art and fine art photography world through their conceptual ‘Obscur Studio’ space, the two photographers have found a common ground to exercise their artistic and technical skill jointly in a complementary way.
The concept behind the show Fleur Scapes, is to capture the sensuality and essence of flowers, with the chiaroscuro element of art, making the works appeal to the viewer at a very subtle  and aesthetic level 

For further information please call on : +91 9164230077 / 8884296154

The show is on view till 7th of September 2013.

( News reports by Sushma Sabnis)

FEATURE

Drawing inspiration

V. Rajagopal uses art to open up the world to his rural students, writes K. Jeshi

( V Rajagopal with his students)

For art teacher V. Rajagopal, every single day at the classroom is a learning experience. His students come up with new expressions, bring dynamism to art, and inspire him. “It’s a give and take,” he says. “We can learn technicalities about M.F.Hussain art or Leonardo Da Vinci from textbooks, but watching students create new art forms in the classroom is exhilarating,” says Rajagopal.

He has been a teacher for 30 years and in the last 13 years he has taught art at the Devarayapuram Government High School in Thondamuthur.

Here, most of his students are from a rural background. Their parents are daily labourers who cannot afford to buy art stationery. Rajagopal initiates the students into the beautiful world of art with whatever material is available to them. If a student’s father is a potter, he encourages the student to make terracotta art. Some students excel in drawing faces of birds, tigers, and elephants, as they are exposed to wildlife in and around their homes. Students give shape to tribal and folk art forms too. “Art helps them to observe life and become more expressive, confident and disciplined. Art lessons also introduce the rural students to history, geography and social culture. When they draw the Qutub Minar or the Saranath Pillar, they also acquire information about it – who built it, when it was built, why and so on… They also learn to identify and differentiate between various countries, by drawing map outlines.”

The simple lines that the students learn to draw also give them a grounding in mathematics and geometry. Rajagopal also exposes students to photography, street theatre and folk songs. He also introduces them to 2D and 3 D art involving sculpture and clay modelling. The exposure in art, he says, helps students to handle National level engineering exams with more confidence. “I ensure that my students use art as a medium and explore the innumerable opportunities it promises. It’s time art is included as a part of the mainstream syllabus.”

Rajagopal, a winner of State-level Kalai Sudarmani award, is a resource person who teaches art for teachers at the state and district level. At painting workshops, he trains children on how to use art to highlight issues such as child labour, and other health related topics. At a three-day camp at SACON, under his guidance, his students came up with sketches of common birds of Coimbatore.

( Report by K Jeshi for the Hindu)

The Conflict Within Show, The Last Supper Show and more..

NEWS


The Conflict Within Show

(A sculpture by K S Radhakrishnan)

The Bengal Art Lounge,Dhaka Bangladesh, presents a solo show of sculptures and bronze figurines by renowned sculptor, K S Radhakrishnan. The show is titled, ‘Conflict Within  - Ascending Descending Figures’.

The works displayed in this show are small intimate bronze figurines and other forms which have an ethereal quality and appear to be culled out of forgotten memories and early morning dreams. The works also are an interaction of the sculptor to commune with the landscape of East and West Bangladesh and his experiences.
Radhakrishnan’s works are about conflict – the conflict we live through, the conflict present in the journey of humanity through time and the conflict to sustain the shared symbols which tell us to make sense of our lives and restore hope.

The show commences on the 7th of September 2013 and will be on view till the 16th of September 2013.

The Last Supper

(A work on display)

The Seagull Foundation for the Arts, New Delhi, presents a solo show of artworks by artist, Madhvi Parekh. The show is titled, ‘The Last Supper’ and the works on display are a series of paintings rendered in acrylics on acrylic sheets. The general themes adopted by the artist feature religious symbolisms. 

The style used is a reminiscent of a mixture of ethnic or tribal art and naive art. The works are on display till the 7th of September 2013 at the Visual Arts Gallery of India Habitat Centre, New Delhi.

The Soul Stories

Artist’s Centre, Mumbai presents a solo show of artworks by artist, Lili Menon. The show is titled, ‘Soul Stories’ and the artist displays her collection which are mixed media on canvas. Abstraction dominates the style and the artist has tried to bring forth a dialogue that is an intimate entity between her mind and her soul. 

Facing and surfacing questions and answers, Lili’s art is her tool of self exploration and expression, which she redirects to her viewers with the sole intent of a conversation with their minds.

The show is on view from the 4th of September to the 8th of September 2013.

The Art Katta Landscape show

(A painting at the show)

The Art Katta, Pune presents a solo show of artworks by artist, Prashant Kale. The works on display are mainly rendered in water colour on paper, oil on canvas. There are 14 painting son display and most of them are based on the theme of landscapes.

Prahant is a communications professional with over 18 years experience in graphic design and specialist in Illustrations, Caricatures, and Airbrush Illustrations, Water Colour Landscapes and Oil Colour Paintings and Landscapes.

He has completed his G.D. Art from Abhinav Kala Mahavidyalaya, Pune and ATD from Belgam.

The exhibition is being held at Hotel Zikomo, Baner Road, Pune till 15th September 2013.

(News reports by Sushma Sabnis)

FEATURE

Stories within stories

Nagesh Goud crafts intricate stories of humanity and nature in his latest exhibition

(Nagesh Houd's solo show Kahaani -2)

Our memories first remember characters and then stories through these characters.

And so in Bolgum Nagesh Goud’s series of solo works (“Kahaani- Part 2”), it is the faces that first catch the viewer’s eye.

Painted using strong, bold lines and strokes, with sharp features and a wry smile, each of these characters represents a story from Indian mythology.

These tales, of the avtar’s of Vishnu, of the heroics of Rama, or stories from the Mahabharata, are intricately captured in black and white ink.

“My paintings are based on experimental studies of ancient stories. Since childhood, I have been inspired by Indian mythology and I love working with mixed media.” Nagesh says he picks simple stories from the epics, such as the Kishkintha episode, the Ashokavana episode or the turning point when Ravana’s uncle appears as the golden deer that tempts Sita.

(a work on display)

“Krishna and Arjuna and the Pandavas are my favourite characters in the Mahabharata, I stand for the human values that they represent.” Also nature, explains Nagesh is an important element in his works, as he shows in his pen and ink tales.

But he alludes more directly to nature in paintings such as the “My Lost World” and “My Beautiful Word”, recreating the imagery of a dense forest in pen and ink with gentle shades of colour that lend an almost supernatural glow.

He also paints animal forms, sometimes using layers to create a 2-D effect on digital prints. The exhibition also features a series of paintings on bulls, that are based on a similar theme as his mythological series, where there is imagery within imagery. Nagesh celebrates the mighty form of the bull at the same time using intricate motifs from nature as well as simple design within the form of the bull to create lyrical effect.

“I hope to express human value of love as well as promote the message of conservation, of nature and the environment through my works,” adds Nagesh. “Kahaani-Part 2” will be on view at ITC Windsor Manor until September 5th 2013. For details, contact 32712348.

(Report by Harshini Vakkalanka for The Hindu)

EDITORIAL - The Importance of Having / Being a Complicated Title, and more..

EDITORIAL

The Importance of Having/Being a Complicated Title

May be in this editorial I want to talk about the titles of art exhibitions that I have seen recently. Titles are integral part of any exhibition. They set the tone and theme of the exhibits. Sometimes the titles intrigue a potential viewer with their deliberate coinage of words and phrases. These titles double up as advertisements in themselves. They are like the photograph of a semi-clad woman published on the cover page of a magazine but upside down. Human beings are such creatures destined to walk with heads up and legs down. So tilting the head is the only way to get the picture right. Too much of head tilting causes pain in the neck. So we buy the magazine only for rotating the cover page in the right direction. Titles of the shows do the same; lured by the title, you end up in visiting the galleries.

My friend, Ashna Singh is famous for her shows as well as for her shifting gallery spaces and changing names of the same. At Lado Sarai, her gallery is called Studio Art and she says this is for final. No change further. Her office room is tastefully done so is her gallery space. The show is titled, ‘August Auriga’. You understand August but you don’t understand Auriga. The wall text written by another friend, Manoj Nair, says, August is the decisive month that has brought changes in the universal calendrical months. Auriga is a constellation that stands for ‘the charioteer’. “The August Auriga’ is an illustration of the conceptual premise in which we see the ‘where from’ and ‘where now’ of the six contemporary Indian artists- from the Auriga in August to the Auriga much later,” says Manoj. Gaugin comes to mind and goes out just like that.

(Icarus - Yet Another Attempt, by Gigi Scaria)

The artists are Sumedh Rajendran, Riyas Komu, G.R.Iranna, Manjunath Kamath, Baiju Parthan and Chintan Upadhyay. They have done their best in their own respective styles. But I sense a cynical sub-text, which could be quite unintentional in the wall text. Auriga is brightest in August so are these artists. According to the conceptual premise, it shows where do they come from and where are they now? But once August goes and September comes, what could be the level of brightness of these stars? Does the wall text mean that? I feel these are the unintentional traps that intriguing titles provide.

(An Actor rehearsing the Interior Monologue of Icarus by Surendran Nair)

Rasika Kajaria’s Exhibit 320 has ‘The Possibility of Being’, curated by Rahul Bhattacharya. I ask you to keep looking at the title for some time; or read it aloud a few times. You suddenly understand that nothing comes out of it. I try to remember Sartre’s ‘Being and Nothingness’, Oscar Wild’s ‘Importance of Being Ernest’, Kundera’s ‘The Unbearable Lightness of Being’ and Damien Hirst’s ‘The Impossibility of Death in the Mind of someone Living’. But possibility of being sounds a stretched premise to me. I could understand the ‘possibility of becoming’. ‘Being’ as a philosophical stage itself is an outcome of a possibility and one can push it to ‘become’ something else. Hence, I stand confused in front of the title and the works of art. I remember Muktinath Mondal’s work from this show and think his earlier series was a bit more powerful than the present one.

(Let It Be by Manjunath Kamath)

At Bhavna Kakar’s ‘Latitude 28’ (I wonder why other galleries in Lado Sarai don’t have numbers attached to them. They also have the ‘possibility of being’ Krishna 227, Artoholics 96, Art Konsult 365, Gallery Alternative 007, Art Motif 9871107007, VAT 12% etc), I see ‘Diver Cities’. This is a verbal pun as it could be read as ‘diversities’ also. The weak point of the show is its title itself. There is a note that talks about the curatorial logic of this show. “Identity as it is experienced lies at the elusive point of disjunction of oxymorons. In ‘Diver-Cities’, contemporary artists have sought to critically inscribe urban paradoxes by seeking out determinate local specificities, the transient self as well as ironic inversions of cultural identifications and histories.” I thought the writer could have stopped at ‘local specificities’.

(Samadhi by Sudipta Das)

However, this is a show with some interesting works. Gigi Scaria’s ‘Yet Another Attempt’ is yet another attempt on his ongoing interest in urban sites. The work shows Icarus standing at the top of a collapsible mountain sprouting from a parched wasteland with a suggestion of urban architecture at its periphery. Icarus wants to fly away. But I am astonished at the fact that none refers to the famous work by Surendran Nair, ‘An Actor Rehearsing the Interior Monologue of Icarus’ which had created a furore amongst the right wing fundamentalists in late 90s. I do not know whether Gigi himself has avoided that reference or the curator has done it so. Manjunath Kamath’s ‘Let it Be’ is a serene work from his usual repertoire. A cupboard turning into a home of sparrows/birds with the objects of daily life shoved on the top of it is a powerful image of urban ruthlessness. Sparrows are said to be extinct in Delhi. And he refers to a golden past by incorporating the image of an old cupboard.

(Untitled by Arun Kumar H G)

Arun Kumar H.G’s untitled works are thought provoking as they show the urban representatives in the form of gallery hoppers as broken reflections of self and the outside but with inviting frames of illusion. Sudipta Das is a repetition of Siddhartha Kararwal in a different medium. Chitrovanu Mazumdar does justice to his reputation. Avantika Bawa is a clear no no to my taste. Saranath Banarjee should focus on publication than exhibiting. Prajakta Palav Aher moves away from her mediatic realism to an explosive abstraction to represent the road blocking religious/family pandals. One could see there is an organic growth in her work but I keep my fingers crossed till she comes up with a solo of works with the same verve. 

Had it not been the intriguing titles, I would not have seen them critically for most of the works are done by artists whose working styles and concerns are very familiar to me. So the works do not surprise me. But then definitely, I have bought the titles therefore the shows to see them upside down so that I could get an interesting picture. 

JohnyML

NEWS

Yatri-  a soul in search

(Work by Nakul Vengsarkar)

Gallery Art & Soul, Mumbai presents a solo show of fine art photography works by photographer,  Nakul Vengsarkar. The show is titled, ‘Yatri -  A soul in search of the Divine’

The show displays some fine art photography works with a singular theme of concepts of religion and spirituality exclusive to the Indian sub-continent. The works in mostly portraitures explore the nature of the pilgrim/ devotee and a traveller of life and a chosen path, his trials and tribulations. His understanding of faith and interpretations of the Supreme.

Yatri, the show, previewed on 1st September 2013, and the show will continue till the 10th of September, 2013.

Workshop on Drawing fundamentals 

The Penciljam Studio, Bangalore has organized a workshop exclusively for those closet artists, to hone their skills and create finer works. 

If interested in learning drawing and willing to try a hand at creativity, then this workshop titled 'Fundamentals Of Drawing' will be an avenue to unleash your talent. The experts of the field will teach art right from the basics for the less informed.

The participants will get to be a part of the theory as well as practical sessions where one gets to learn various concepts like introduction to drawing materials, hues and tones, composition, lights and shadows, perspective and much more. 

The workshop is on till the 8th of Septmeber 2013, on every Saturday and Sunday.

The Nocturnals

(Work by the Vargas brothers)

Instituto Cervantes, New Delhi, presents an eye-catching treat for all art lovers across the town. On display is an exclusive art exhibition ‘Nocturnal’, that will showcase the works by Vargas brothers. The exhibition will have on display the works by two Peruvians who are considered to be Arequipa's (the town where they were born) spirit. 

Specially known for their 'nocturnals', The Vargas brothers perfectly captured the night life of the American country in the beginning of the 20th century. Despite their different personalities, their work complements each other perfectly as one was the technical expert and the other held the artist point of view.

The show commences on the 16th of September 2013 and is in view till the 24th of November 2013.

The Colour Drama show

(Work by Arvind Kolapkar)

Veda Art Gallery, Bangalore presents a unique show titled, 'Color Drama'. The works on display are some of the exquisite artworks of Arvind Kolapkar. 

Ahmednagar based Arvind Kolapkar focuses on music which is his inspiration. The folk and the classical music play a significant role in his paintings. 

The most important elements that are found in his paintings include single colour painted background, stylized figures with coloured forehead and noses, the tanpura or the flute and eyes of the figures are often closed.

The show is on view till the 27th of September 2013.

(News reports by Sushma Sabnis)

Sotheby's Footsteps of the Buddha, 100 years of Hussain and more..

NEWS

Lectures by Iftikhar Dadi on Modernism

(Iftikhar Dadi)

The School of Arts and Aesthetics, JNU, Delhi presents a series of lectures about Modernism in Muslim South Asia, by eminent artist, curator, and academic, Iftikhar Dadi. 

The five lectures series is specifically designed upon his research on modernism in Pakistan.The series of lectures are as follows:
Modernism in South Asian Muslim Art  - on 2nd September at 5 :30 pm
Abdur Rahman Chugtai: Mughal Aesthetic in the Age of Print -  3rd September at 5:30 pm
Three Mid-century Modernists -  on 4th September at 5:30 pm
Sadequain and Calligraphy -  on 5th September at 5:30 pm
Ethnicity in Urdu Cinema -  on 6th September at 5:30 pm.

 Iftikhar Dadi is the author of ‘ Modernism and the Art of Muslim South Aisa’ and co-author of ‘Unpacking Europe’, and co-curator of ‘Lines of Control’ - an exhibition on partitions and borders. Also co-curator of Tarjama/ Translation showcased from the Middle East, Central Asia and other places.

Celebrating 50 years of Contemporary Art

(Work from the show)

Chemould Prescott Road' invites all art lovers to an exclusive art exhibition that has been scheduled as a part of celebration of 50 Years of Contemporary art. With the display of first five exhibitions curated by Geeta Kapur, titled,‘Aesthetic  Bind: Subject of Death’ the exhibition will have on display some of the finest works by the well-known artists like Bhupen Khakhar, Atul Dodiya, Mehlli Gobhai, Gieve Patel, Sudhir Patwardhan and others. 

Apart from this, the exclusive show will also have the works by Srinivas Prasad, Gargi Raina, Mithu Sen, Sudarshan Shetty and Aditi Singh on display. 

The preview will be on display on September 3, 2013 at 7:00 pm and is on view till the 3rd of October 2013.

100 years of Hussain

(Work on display)

The Institute of Contemporary Indian Art Gallery, Mumbai presents a retrospective show about legendary artist, M F Husain. The exhibition has been organized to celebrate 100 years of the artist. 

One would be fortunate to witness his works from various private collections, which will comprise 100 artworks spread over various series and periods of his life. Some of the paintings on display will include his works of British Raj, Sitar, Raag mala, Tribal, his very famous horses and many more.

This show is the best chance to witness the master’s legacy and creativity. The show is on from the 16th September 2013 to the 12th of October 2013.

Sotheby’s Footsteps of The Buddha

Coinciding with the auctions and events of Asia Week in September, Sotheby’s presents a selling exhibition titled ‘Footsteps of the Buddha: Masterworks from Across the Buddhist World’, the first of its kind. Offering an opportunity for collectors and connoisseurs, the exhibition traces the historical development and transformation of Buddhist art as it traveled throughout Asia from the 2^nd century through the 21^st century. 

This exhibition features pan-Asian Buddhist paintings and sculptures from the ancient regions of Gandhara, Nepal, Tibet, Korea, China and Japan. Organized jointly by Sotheby’s Asian art division, the exhibition aims to introduce important Buddhist artwork to a wider audience. 

The works will be on view in New York galleries from 3rd through 23rd September 2013.

For more information, please visit www.sothebys.com/buddha. 

(News reports by Sushma Sabnis)

FEATURE

Sculpting characters to life

Suresh K.’s muse is Kathakali. The artiste chisels replicas of the characters on the Kathakali stage

(Some of Suresh K.'s completed Kathakali figurines)

While some bring characters to life on stage, Suresh K. brings mythological characters to life with pieces of wood.

Suresh is perhaps the only person in the state who is in the field of sculpting and carving Pacha, Kathi, Thaadi, Kari and Minukku characters in Kathakali.

It all began when Suresh and a relative of his, B. Thrivikraman were approached by an official in the Kerala State Handicrafts Development Corporation. The official wanted them to supply Kathakali figurines to the handicraft shops of the state as their previous craftsman had retired.

“Thrivikraman’s father, Bhaskaran Shasthrikal, was a Kathakali artiste. He was part of a Kathakali troupe in the city called Karikkakom Kathakali Yogam. From him, we learnt to love and appreciate the art form. My maternal side of the family are craftsmen and I learnt the trade from them. Thrivikraman helped me fine tune my skills after I completed my SSLC. We used to make handicrafts out of sandalwood. A Chutti artiste and a chenda artiste, he is currently concentrating in those fields,” says Suresh.

(Suresh K. busy at work)

Suresh’s day begins at the break of dawn when he steps into his little work studio beside his house at Karikkakom. Inside his studio is his workbench where he chisels replicas of the characters on the Kathakali stage.

The artiste is currently busy chiselling figurines of Krishna for the upcoming Onam season. “I have been commissioned by the SMSM Institute to create Kathakali sculptures in time for Onam. In fact, I have been making such figurines for them since 1992.”

Krishna, he says, is the easiest figurine to make. Figurines of Krishna are in demand and so are those of Bhima. “The toughest to make are the Kathi and Thadi (red) veshams as there are a lot of fine details in their chutti make up. Coming from the world of Kathakali, I can do justice to the sculptures as I can bring the right expression on the faces of the wooden statues. As each character has a varied temperament, I have to show it in the eyes,” says Suresh, who makes figures in various sizes, the smallest being 18 inch and the largest, around six feet tall.

While Suresh carves and paints the heroes and heroines of Kathakali, his sister-in-law Sheila J. Kumari helps him clothe the figures. His wife, Pushpa, occasionally helps with the stitching too. The sculptures, he says is complete only when the headgear, arm bands and waist belts are adorned.

(A half done figurine of Krishna)

However, chiselling out the figurines is no piece of cake says Suresh. “It requires an enormous amount of patience, something the younger generation lacks. Although several artistes have come asking to be taught, none have remained. And that is why the art of making Kathakali figurines will die. Gen X want a profession that will not eat much of their time, does not require much dedication…They also want something which will bring them a decent income, something this field will not guarantee.”

Although there is a lot of fine craftsmanship that goes into each Kathakali figure, Suresh says the remuneration is barely enough. And although he has been approached by various dealers from India and abroad, Suresh prefers supplying to various handicraft institutes in the city. “The dealers want large supplies within a short period of time and I can’t do so as I am only one man and can only do so much. Earlier, my son, Anish used to help out. His love is however, photography and is now employed in Sharjah,” says the 52-year-old as he picks up a figurine and goes back to work.

(Report and photos by Liza George for The Hindu)