Aicon Gallery recently showcased a series of works by Raghu Rai, entitled 'Invocation to India'. The exhibition, a tour of his solo museum presentation at the New Art Exchange in Nottingham, was part of the Format International Photography Festival.
For over four decades and a half, the celebrated photographer has returned to the subject of the outdoor space in India, revealing something particular and complex about the relationship between the public sphere and the private sphere in India. We can think about the public sphere are the street, the pavement, the park; the outdoor spaces through which we pass and re-pass.
He seems to suggest that the public sphere of India is significantly different - and ultimately dissolves the easy distinction between public and private. In the early, now -iconic work 'Traffic at Chawri Bazar, Delhi' (1964) Rai captures the ordered chaos of public space in India. If we fast-forward forty years to his more recent work, ‘A Bazaar Scene, Old Delhi' (2006), it becomes clear that the street is still a shared space.
The population density that has characterized late 20th-century and early 21st-century India means that we can't simply use terms such as ‘public space’ and ‘private space’ from a Eurocentric perspective. The public spaces that Raghu Rai investigates seem to be more layered and more multi-valent than how we might imagine public space to be in Western countries. In particular, the large-scale communal religious ritual is a common feature that takes place within the Indian landscape and that he has photographed over the years.
Public space is the arena where we all stage our daily lives. However, in India it seems that there is more of a range of activities that our staged in that outdoor arena; ablutions, religious ceremonies, sporting activities, commuting, working and sleeping all feature in this show. It would seem that a public space in India can serve as a road, as a religious site, as a bed and as a shop all within a matter of hours and he documents these processes. But he does so in a way that makes us question what exactly is public and what exactly is private!
(Information courtesy: Aicon Gallery)
Monday, July 11, 2011
A celebrated photographer demarks and delineates the public and private
Emerging talent from India and Oman featured in a group show in Muscat
A show of contemporary art of Indian artists and their Omani counterparts, entitled ‘Cognitive Realities’, was held recently at the Indian embassy in Muscat. The exhibit was conceptualized and organized by Art Select.
The event was thrown open by Hussain Jawad, chairman W. J. Towell & Co. LLC at the auditorium of Indian embassy. Works of several upcoming and talented artists from the two countries such as Arya Choudhuri, B. Rabha, Gopi Gajwani, Azizur Rehman Shah, Kanchan Chander, Gourav Bhattacharya, Manisha Gawade, Laxma Gaud, Mazarine Memon, Maya Burman, Rini Dhumal, Suhas Roy, Satadru Sovan, Saurav Bhattachrya, Thota Vaikuntham, Tushar Pradhan, Anwar Sonya and Vinod Sharma, among others were on view. Artworks of known artists like Radhika Hamlai and Mariyam Al Zadjali from Oman were also on display.
The joint exhibition had on offer a very interesting amalgamation of contrasting cultures as seen and interpreted by these creative contemporary artists representing the two country’s emerging art scene. The aim of the event was also to foster the cultural ties between India and Oman through a meaningful exchange of ideas unique to their own landscape and milieu.
The ambassador of India prior to the event Anil Wadhwa, was quoted as saying: “Indian art has gained acclaim and recognition internationally. I am proud of the fact that we are patronizing a show of this magnitude. It sure will act as a catalyst in furthering the popularity of Indian art, culture, traditions and heritage to other countries of the world. India’s art is certain to become a key element of Oman’s arts & cultural calendar.”
Careful selection of participating artists by the organizers ensured that the show included quality works done to detail, exuding artistic skills and a variety of themes that lent themselves to diverse thought processes. Different forms were showcased like abstracts, figurative expressionism, landscapes and decorative works, in a variety of sizes from the emerging talent from the Middle East and India.
The event was thrown open by Hussain Jawad, chairman W. J. Towell & Co. LLC at the auditorium of Indian embassy. Works of several upcoming and talented artists from the two countries such as Arya Choudhuri, B. Rabha, Gopi Gajwani, Azizur Rehman Shah, Kanchan Chander, Gourav Bhattacharya, Manisha Gawade, Laxma Gaud, Mazarine Memon, Maya Burman, Rini Dhumal, Suhas Roy, Satadru Sovan, Saurav Bhattachrya, Thota Vaikuntham, Tushar Pradhan, Anwar Sonya and Vinod Sharma, among others were on view. Artworks of known artists like Radhika Hamlai and Mariyam Al Zadjali from Oman were also on display.
The joint exhibition had on offer a very interesting amalgamation of contrasting cultures as seen and interpreted by these creative contemporary artists representing the two country’s emerging art scene. The aim of the event was also to foster the cultural ties between India and Oman through a meaningful exchange of ideas unique to their own landscape and milieu.
The ambassador of India prior to the event Anil Wadhwa, was quoted as saying: “Indian art has gained acclaim and recognition internationally. I am proud of the fact that we are patronizing a show of this magnitude. It sure will act as a catalyst in furthering the popularity of Indian art, culture, traditions and heritage to other countries of the world. India’s art is certain to become a key element of Oman’s arts & cultural calendar.”
Careful selection of participating artists by the organizers ensured that the show included quality works done to detail, exuding artistic skills and a variety of themes that lent themselves to diverse thought processes. Different forms were showcased like abstracts, figurative expressionism, landscapes and decorative works, in a variety of sizes from the emerging talent from the Middle East and India.
Sunday, July 10, 2011
Prague Biennale 2011
The keenly awaited Prague Biennale 5 / Prague Biennale Photo 2, which has opened in the third week of May, will run until September 11, 2011.
After three successful editions in the magnificent Karlin Hall, the latest edition of the biennial is being held at Microna, a fu¬turistic building that for many years was a factory for aircraft engines. This new space will bring new ideas and new energy, confirming the event as among the most important venues in Central Europe for what is interesting, new, emerging and groundbreaking in the field of art.
A press release elaborates: "The fifth edition of the biennial is divided in three macro-sections: ‘Expanded Painting’, ‘Art In General’ and ‘Focus Italy’. With a structure reminiscent of a Chinese Box, each macro-section is divided into smaller sections, each of them organized by an international curator appointed by Prague Biennale directors Giancarlo Politi and Helena Kontova."
The first macro-section of the Prague Biennale is Expanded Painting. Conceived by Politi and Kontova, the aim of this macro-section is to map the most interesting tendencies in contemporary painting with focus areas such as the United States, Portugal and Scandinavia. Inspired by Rosalind Krauss’ seminal text Sculpture in the Ex¬panded Field, Expanded Painting considers the work of artists who do not necessarily work only with painting, but rather artists whose practices speak about the legacy of the medium.
Art in General is the second macro-section of Prague Biennale. There is a particular focus on the Czech Republic, and Slovakia, as well as on India, which is featured for the first time in the Czech Republic with a special survey “Crossroads: India Escalate” that includes 22 artists.
You will notice the same attention to regions in the third macro-section, Focus Italy, which will feature a selection of Italian artists. Continuing the first edition inaugurated last year, the second edition of Prague Biennale Photo puts the spotlight on the emerging scene in the field of photography in the Czech Republic and internationally.
After three successful editions in the magnificent Karlin Hall, the latest edition of the biennial is being held at Microna, a fu¬turistic building that for many years was a factory for aircraft engines. This new space will bring new ideas and new energy, confirming the event as among the most important venues in Central Europe for what is interesting, new, emerging and groundbreaking in the field of art.
A press release elaborates: "The fifth edition of the biennial is divided in three macro-sections: ‘Expanded Painting’, ‘Art In General’ and ‘Focus Italy’. With a structure reminiscent of a Chinese Box, each macro-section is divided into smaller sections, each of them organized by an international curator appointed by Prague Biennale directors Giancarlo Politi and Helena Kontova."
The first macro-section of the Prague Biennale is Expanded Painting. Conceived by Politi and Kontova, the aim of this macro-section is to map the most interesting tendencies in contemporary painting with focus areas such as the United States, Portugal and Scandinavia. Inspired by Rosalind Krauss’ seminal text Sculpture in the Ex¬panded Field, Expanded Painting considers the work of artists who do not necessarily work only with painting, but rather artists whose practices speak about the legacy of the medium.
Art in General is the second macro-section of Prague Biennale. There is a particular focus on the Czech Republic, and Slovakia, as well as on India, which is featured for the first time in the Czech Republic with a special survey “Crossroads: India Escalate” that includes 22 artists.
You will notice the same attention to regions in the third macro-section, Focus Italy, which will feature a selection of Italian artists. Continuing the first edition inaugurated last year, the second edition of Prague Biennale Photo puts the spotlight on the emerging scene in the field of photography in the Czech Republic and internationally.
Venice can surprise us, even the cynics: here’s how…
An interesting and vivacious Venice Diary in The Outlook by writer Maseeh Rahman provides us a glimpse into the Indian presence at the prestigious event at the vibrant venue, known as the Mecca of art world.
The writer starts off by reviving of a previous visit there. It was in 2007, probably for the first time, that the Biennale organizers offered an official country pavilion to India. It’s considered a much coveted prize and honor at this most prestigious international art extravaganza.
Nations lobby hard to get in. Sadly, that wasn’t in India’s case. The curator then flew to Delhi to make the enticing offer. However, India’s culture secretary retorted: “Why should we really participate? And anyway, kindly come through the proper channels.”
The Outlook writer notes: “People whom I met in Venice were rather open-mouthed about New Delhi’s stupidity that year. So I can well be excused for believing it would take not less 116 years (the number of years the Biennale is now old) before our babus could wake up to the significance of culture to create a compelling national image (nine percent growth and nuclear bombs aren’t enough!). I had though, overlooked something- throughout history, with its Virgin Mary cult, Venice has been known as ‘the city of miracles’.
That it happened is thanks to India’s culture secretary Jawahar Sircar and Lalit Kala Akademi (LKA) chairman Ashok Vajpayee. Funds were sanctioned quickly; Ranjit Hoskote was put in charge as curator, and Sudhakar Sharma was chosen as the commissioner.
Indeed, the opening of India pavilion on June 3 at the 12th century magnificently derelict Venetian docks, the Arsenale, is a major event. In spite of those last-minute hiccups, the anticipation at the opening gave inkling of a historic moment. The exhibition goes on until November 27, 2011.
The curator, Ranjit Hoskote, has wisely opted to steer clear of the inherent pitfalls of creating a ‘nationally representative show’. The four artists, who form part of it, do speak in their own distinctive voices and have their unique themes to work on.
The writer starts off by reviving of a previous visit there. It was in 2007, probably for the first time, that the Biennale organizers offered an official country pavilion to India. It’s considered a much coveted prize and honor at this most prestigious international art extravaganza.
Nations lobby hard to get in. Sadly, that wasn’t in India’s case. The curator then flew to Delhi to make the enticing offer. However, India’s culture secretary retorted: “Why should we really participate? And anyway, kindly come through the proper channels.”
The Outlook writer notes: “People whom I met in Venice were rather open-mouthed about New Delhi’s stupidity that year. So I can well be excused for believing it would take not less 116 years (the number of years the Biennale is now old) before our babus could wake up to the significance of culture to create a compelling national image (nine percent growth and nuclear bombs aren’t enough!). I had though, overlooked something- throughout history, with its Virgin Mary cult, Venice has been known as ‘the city of miracles’.
That it happened is thanks to India’s culture secretary Jawahar Sircar and Lalit Kala Akademi (LKA) chairman Ashok Vajpayee. Funds were sanctioned quickly; Ranjit Hoskote was put in charge as curator, and Sudhakar Sharma was chosen as the commissioner.
Indeed, the opening of India pavilion on June 3 at the 12th century magnificently derelict Venetian docks, the Arsenale, is a major event. In spite of those last-minute hiccups, the anticipation at the opening gave inkling of a historic moment. The exhibition goes on until November 27, 2011.
The curator, Ranjit Hoskote, has wisely opted to steer clear of the inherent pitfalls of creating a ‘nationally representative show’. The four artists, who form part of it, do speak in their own distinctive voices and have their unique themes to work on.
Saturday, July 9, 2011
Mumbai Art fraternity remembers Husain, the legend
Last week, art lovers from Mumbai gathered in large numbers to express their love for late Maqbool Fida Husain. A legend and one of the greatest artists of all times passed away in London last month. A memorial was organized by his family and friends at Cafe Samovar, a venue h had a very fond association with. The halls just next to it at the Jehangir Art Gallery were bustling with presence of his close friends and well-wishers.
Five of MF Husain’s six children - Owais, Raisa, Aqueela , Shafaat and Mustafa - and their children were three at the meeting accompanied by a number of art lovers and associates who had had long-standing relationship with the internationally celebrated artist, including his muse Madhuri Dixit-Nene. She fondly remembered how the artist visited the family after their son was born. She reminisced: “When went to pick him up, he walked out from the airport with no bags. He put on the same shirt the next morning. We took him shopping and he was like a kid in the stores; childlike and innocent.”
Famous writer and socialite, Shobhaa De, also a very close friend of Husain for several years, recounted the moments that she could spend with him at a hospital in London only a few days before he died. His son, Owais Husain, and Husain’s granddaughter, Manisha, remembered the great man, respectively.
Meanwhile, Owais stated that his father actually wanted to destroy his works before his death. Today, as MF goes from being an art icon to a myth, history would give tell if his idea was right. Personal remembrances and milestones in his life that became major turning points in India’s art history itself summed up the crux of another meet organized by Sahmat.
Motifs from his life that connected him with Indian way of living dotted he venue along with a reproduction of his large Ramayana painting. A brass band played 'Ramaiya wasta waiya' and the people danced to it. Summing up the spirit of his father, Owais quipped: "Had my father been there, he would have danced as well."
Five of MF Husain’s six children - Owais, Raisa, Aqueela , Shafaat and Mustafa - and their children were three at the meeting accompanied by a number of art lovers and associates who had had long-standing relationship with the internationally celebrated artist, including his muse Madhuri Dixit-Nene. She fondly remembered how the artist visited the family after their son was born. She reminisced: “When went to pick him up, he walked out from the airport with no bags. He put on the same shirt the next morning. We took him shopping and he was like a kid in the stores; childlike and innocent.”
Famous writer and socialite, Shobhaa De, also a very close friend of Husain for several years, recounted the moments that she could spend with him at a hospital in London only a few days before he died. His son, Owais Husain, and Husain’s granddaughter, Manisha, remembered the great man, respectively.
Meanwhile, Owais stated that his father actually wanted to destroy his works before his death. Today, as MF goes from being an art icon to a myth, history would give tell if his idea was right. Personal remembrances and milestones in his life that became major turning points in India’s art history itself summed up the crux of another meet organized by Sahmat.
Motifs from his life that connected him with Indian way of living dotted he venue along with a reproduction of his large Ramayana painting. A brass band played 'Ramaiya wasta waiya' and the people danced to it. Summing up the spirit of his father, Owais quipped: "Had my father been there, he would have danced as well."
A printmaker-sculptor with unusual techniques and themes
Himmat Shah’s work is a fine blend of inspirations shaped by both Indian tradition and western influences. His stay at Atelier 17 in Paris allowed him to discover the captivating canon of western art.
He is known more for his abstracted terracotta and bronze heads, considered his signature work. Among his most recognizable works is the series of sculpted heads in bronze and terracotta. As emblems of masculinity, they appear totemic and phallic wherein he uses printmaking techniques to score the surfaces.
In fact, his reputation as a master sculptor has become so overwhelming that his ability as a printmaker has almost gone unnoticed. His color etchings are equally attention-grabbing. For example, at first glance, one of them may bring to your mind an updated Monet haystack often protected from the gusty wind with a ubiquitous covering of sticks, cloth and other assorted debris.
But are we actually seeing objects laid right on top of this piled up chara, or checking objects that are embedded deep within? His haystack displays a sculptor's sensitivity and meticulousness of form building and a draftsman's astute attention to the fine subtleties of line. Even the coloration of his much-used terracotta quietly seeps into his deceptively simple etching works.
Among his select participations are ‘Manifestations IV and V', Delhi Art Gallery (2011, 10); ‘Time Unfolded', KNMA, Delhi (2011); 'The Intuitive: Logic Revisited', Davos, Switzerland (2011); 'Yellow Deity', Museum of Contemporary Art, Budapest (1997); 'Rediscovering the Roots', Meseo de la Nacion, Lima, Peru (1997); Festival of India exhibit, London (1982); Biennale de Paris (1970, 1967), and National Exhibition at LKA, Delhi (1960).
A recipient of Kalidasa Samman of the Madhya Pradesh Government (2003) and AIFACS Award, Delhi (1996), he also received Emeritus Fellowship from Government of India (1994-96), the Sahitya Kala Parishad Award, Delhi (1988); the Fellowship to Outstanding Artists (1983-85) from the Bombay Art Society Award (1962) and the LKA award for painting, Delhi (1962, 1959).
Friday, July 8, 2011
The art journey of a multi-faceted sculptor
Born in 1933 in Lothal, Gujarat, he first learnt the intricacies of art under N.S Bendre. After studying art at Faculty of Fine Arts, Maharaja Sayajirao University of Baroda (1956-61), he joined Atelier 17, Paris (1966-67) on a scholarship from the French government.
In the subsequent years, he designed several monumental murals primarily in brick, cement and concrete at Ahmedabad’s St. Xavier's School. During this period, he also dabbled in relief & sculpture works in plaster, ceramics and terracotta.
This renowned sculptor and draughtsman was a member of Group 1890. This artists’ collective initiated by J. Swaminathan looked to promote a unique form of art closer to Indian ethos distinct from the western traditions and schools, but it was short-lived. Jawaharlal Nehru, the then prime minister of India, opened its first and only show in the early sixties. Soon after, the group was disbanded and all its members continued with their respective art practices and their own agendas. Himmat Shah was no exception, as he evolved his own style and thematic idiom.
A series of solo exhibitions of his drawings and sculptures have been held at Jehangir Nicholson Art Gallery, NCPA, Mumbai (2007); Berkley Square Gallery, UK (2007); Anant Art Gallery, Delhi (2005); Art Heritage, Delhi (2002, 2000, 1983); Shridharani Gallery, Delhi (2000); Sakshi Gallery, Mumbai (1994); LKA, Delhi (1982); Dhoomimal Art Gallery, Delhi (1979); Gallery Chemould, Delhi and Mumbai (1966); Kunika Chemould Art Centre, Delhi (1965,64), thus stretching his illustrious art career to nearly five decades.
His work has been a part of many groups shows like 'Vahana', Bombay Art Gallery (2010); 'Essential, Eclectic, Ephemeral', The Harrington Mansions, Kolkata (2010); India Fine Art, Mumbai (2007); ‘Tangibles', Priyasri Art Gallery, Mumbai (2006); ‘Manifestations I, II and III’, Nehru Centre, Mumbai; Delhi Art Gallery and LKA, Delhi (2004-05); 'Face to Face', LKA, Delhi (1998); the inaugural show of Roopankar Museum, Bharat Bhavan, Bhopal (1982). He also featured in 'Group 1890' show in Delhi (1963), the Progressive Painters Group exhibit, Ahmedabad (1962) and the Baroda Group Show, Mumbai (1957-58).
In the subsequent years, he designed several monumental murals primarily in brick, cement and concrete at Ahmedabad’s St. Xavier's School. During this period, he also dabbled in relief & sculpture works in plaster, ceramics and terracotta.
This renowned sculptor and draughtsman was a member of Group 1890. This artists’ collective initiated by J. Swaminathan looked to promote a unique form of art closer to Indian ethos distinct from the western traditions and schools, but it was short-lived. Jawaharlal Nehru, the then prime minister of India, opened its first and only show in the early sixties. Soon after, the group was disbanded and all its members continued with their respective art practices and their own agendas. Himmat Shah was no exception, as he evolved his own style and thematic idiom.
A series of solo exhibitions of his drawings and sculptures have been held at Jehangir Nicholson Art Gallery, NCPA, Mumbai (2007); Berkley Square Gallery, UK (2007); Anant Art Gallery, Delhi (2005); Art Heritage, Delhi (2002, 2000, 1983); Shridharani Gallery, Delhi (2000); Sakshi Gallery, Mumbai (1994); LKA, Delhi (1982); Dhoomimal Art Gallery, Delhi (1979); Gallery Chemould, Delhi and Mumbai (1966); Kunika Chemould Art Centre, Delhi (1965,64), thus stretching his illustrious art career to nearly five decades.
His work has been a part of many groups shows like 'Vahana', Bombay Art Gallery (2010); 'Essential, Eclectic, Ephemeral', The Harrington Mansions, Kolkata (2010); India Fine Art, Mumbai (2007); ‘Tangibles', Priyasri Art Gallery, Mumbai (2006); ‘Manifestations I, II and III’, Nehru Centre, Mumbai; Delhi Art Gallery and LKA, Delhi (2004-05); 'Face to Face', LKA, Delhi (1998); the inaugural show of Roopankar Museum, Bharat Bhavan, Bhopal (1982). He also featured in 'Group 1890' show in Delhi (1963), the Progressive Painters Group exhibit, Ahmedabad (1962) and the Baroda Group Show, Mumbai (1957-58).
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