Escolar Documentos
Profissional Documentos
Cultura Documentos
Yves Klein
Born : 28 April
1928
Nice, France
Died : 6 June
1962 (aged 34)
Paris, France
Nationality :
French
Field : Painting,
Performance art
Movement : Nouveau Ralisme
Works : IKB 191 (1962)
Monotone : Symphony (1949)
"The essential of painting is that something,
that 'ethereal glue,' that intermediary
product which the artist secrets with all his
creative being and which he has the power
to place, to encrust, to impregnate into the
pictorial stuff of the painting." Yves Klein
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Infrequent Photo
CONTRIBUTORS
Rahul Bhattacharjee, is a Delhi based art critics
and writer.
Raj Kumar Mazinder, is an Assistant Professor,
Department of Visual Arts, Assam University,
Silchar.
Dr. Nirmal Kanti Roy, H.O.D Department of Visual
Arts, Assam University, Silchar.
Sumeet K. Chaudhary, an independent art critic,
artist and writer based in Baroda Gujarat.
Rollie Mukherjee, is Desire paths publishers,
Vadodara (Baroda) based Independent artistcritic-poet-research editor.
Dr. Ayiriddhi Bhattacharjee, is an Assistant
Professor, Department of Mass Communication,
Assam University, Silchar.
Abhibrata Chakrabarty, is an Assistant Professor,
Department of Visual Arts, Assam University,
Silchar.
Kumar Ajit Dutta, is a Guwahati based art critics
and writer.
Rajiv Banik, is Silchar based researcher and
freelance Writer.
Jhimli Nath, is Silchar based freelance Writer.
Cover Artist
Vinita Dasgupta
OBITUARY
Prokash Karmakar
Art Echo Correspondent
Contemporary scenario of
Film Art Practices in Assam : A Brief Overview
Raj Kumar Mazinder
6
Comic-Culture in India
Rajiv Banik
12
14
Face To Face
Rollie Mukherjee
17
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21
28
30
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OBITUARY
The Legendary Artist and Mentor Mukunda
Debnath : the Torch Bearer of Barak Valley
Dr. Nirmal Kanti Roy
Chief Advisor
Prof. Tapodhir Bhattacharjee
Ex-Vice Chancellor, Assam University, Silchar
Advisor
Dr. Nirmal Kanti Roy
Dr. Meghali Goswami
Rajkumar Mazindar
Dr. Ganesh Nandi
Editor
Tapojyoti Bhattacharjee
+91-9435503475
Contributing Editor
Dhaneswar Shah (New Delhi)
Kumar Ajit Dutta (Guwahati)
Ashok Barma (Silchar)
Managing Editor
Sanjay De
Cover Design
Kanika Chanda
Asstt. Editor
Pinak Pani Nath
Photographer
Arup Mazumder
Silchar Correspondent
Anurupa Bhattacharjee
Karimganj Correspondent
Manas Bhattacharjee
OBITUARY
amongst his disciples till date. Most of his students are now well established in different part of
the country.
In The Fine Arts Academy, the art history classes were given equal importance. He had a
good collection of rare books on art. At that time the syllabus of Baroda and Santiniketan were
taken as reference and a combination of both were finalised as a syllabus for the institute. Two
other members of the institute, Shyamalendu Chakraborty and Tribeni Prasad Chakraborty
were also involved in the process of preparation of syllabus for The Fine Arts Academy. Later
on both of them used to take theory classes while practical classed were conducted my Mukunda
Debnath. Within a few years The Fine Arts Academy flourished as a temple of creative exposure
in the entire valley under the true leadership of Mukunda Debnath.
Mukunda Debnath wanted to amalgamate the art of literature, performance and fine arts
together to give a new dimension because his thought was very contemporary and innovative.
He had keen interest in Indian classical music and drama. He had an important contribution in
the field of Drama in Barak Valley. He introduced the culture of Set Design for drama at Silchar
and created some remarkable drama sets.
The contribution of Mukunda Debnath in the field of printing cannot be ignored. He
introduced designing logo and book cover for various organizations. In the time when printing
was not developed in Barak Valley, he initiated in producing logo and book cover for printing.
He used his own technique of lino cut and wood cut for making logos and drawings for printing.
It was a very pain staking job and most of them were done for the voluntary perpose. It's all
because of his patience and interest in art he used to do that. In his initial career he did a
number of commercial art as well. According to him, "a perfect artist must know all forms of
visual arts".
Like a bee, who collect nectar from the flowers and the result is the growth of multiple
flowers. So, Mukunda Debnath as like bee, was a catalyst who for the first time sawed the
seed and thus a giant tree is seen today. The tree of his effort is now having a multiple number
of branches which are the present art institutions of Barak Valley.
He will always remain immortal with all his achievements and contributions: an artist
intensely involve in a silent quest for self as well as region's identity.
OBITUARY
PROKASH
KARMAKAR
Art Echo Correspondent
The painting fraternity mourned the death of eminent
painter Prokash Karmakar, who was passed away on 24
February 2014 Monday following age-related illness at the
age of 81.
One of the most original and outstanding painters of
contemporary India, Prokash Karmakar confirms in his
works the rich inheritance of Indian art and the dynamic
spirit of the modern age. Born in Calcutta in 1933 he has
lived through wars, famine, communal riots, and partition, and his powerful brush has caught
the anguished search of his age for meaning and direction in bold lines and rich colour.
Influenced by the works of Picasso and the classic impressionists .His magnificent distortions
offer a profound insight into the hidden matrix of experience.
Prokash's father Prohlad Karmakar, a pioneer of modern printing in India, died early
leaving Prokash to fend for himself. Prokash had a hard life in his boyhood and youth - he
found shelter in station platforms, city parks, brothels and pavements - and all this experience
enriched his creative imagination. In spirit he remain a bohemian whose head is warms and
generous but whose head in unbowed to any authority.
In 1968 Prokash get an Academy Award of a Fellowship which took him to Paris to study
the Master Painters Creations and other great country of artistic activity in Europe. He gradually
achieved in his style a rich and original aesthetic fusion from Eastern and Western art while
retaining in every on his strokes the authentic stamp of his individuality. He has exhibited in
innumerable solo and group shows. His paintings have been acquired for their collection by
the Modern Art Gallery, New Delhi, Birla Academy of Art and Culture, Calcutta, Rabindra
Bharati University, Calcutta, Allahavad Museum, Allahabad, U.P., Lalit Kala Akademi, Lucknow,
U.P., Art Heritage of India, New Delhi, and
by many governments and private
collections throughout the world.
He is one of the most powerful artist
in India. His landscapes are unparalleled.
It has the true essence of India, and at
the same time very modern. His figures
his lines, bold distortions are simply
magnificent. He himself is now an
Institution and many young contemporary
painters are following his path.
He will be a source of inspiration for
all those interested in art and culture and
his death leaves a void in the world of art
and creativity.
3
COVER
STORY
Anjali Ela
Menon at
Art Konsult
Gallerys
Solo Booth
of Vinita
Dasgupta.
The encounter with Raghurajpur did not lead her throw away her personal love for the
urban popular traditions, instead what resulted is a complex layering of both. Taking
photographs of the Raghurajpur paintings, the artist painstakingly makes numerous canvas
rolls and uses them to make portraits of painters, performers and story tellers to make her
world. Paint is given at a final layer of detailing that helps the artist to develop a language that
challenges the boundaries of painting. This merging of boundaries makes her a child of
postmodern eclecticism and also gives her meditative therapy of craftmanship that her soul
has been looking for.
Apart from the artist's natural flair for figuration and an ability to strike a chord with
portraiture, what makes her current body of works significant is the possibilities of enquiries
that they open and the complex layering of folk and urban they embody. This layering of folk
and urban also mirrors the zone between art and craft that mark the physicality of her works.
The inspiration behind these rolls has been earrings she discovered where in Coke and
Fanta cans were cut and rolled. This dismembering and creation of a new identity opened up
the possibilities for Dasgupta to assimilate the Raghurajpur paintings into her works and yet
mask them. Over the last two years apart from the painters and performers of Raghurajpur,
other prominent personalities have come in her artworks...almost as a continuation of her
earlier subject matter. However even though sometimes these popular mainstream icons
enter her work, their representation has completely changed. There is a fragmentation and
realignment that happens, this breaks their iconicity and positions them within the vulnerability
of popular storytelling.
As she moves deeper into understanding and practicing this direction in her practice,
she is also beginning to realize that within this idiom there is a great possibility of conceptual
fine-tuning and experimentation. These works have captured the imagination of viewers, yet
the artist is looking for more, eager to walk a tightrope between making her practice more
deeply personal, and universal. The journey is to entrench her works deep into the dialog of
contemporary, yet go deeper into her love for craft and the handmade. The Storytellers is
standing on the edge, rooted and yet ready to take off.
FEATURE
Contemporary scenario of
of video as shaped by conventional cinema. At the end of 1980s the development of computer
graphics, combined with real time technologies then in the 1990s with the spreading of the
web and the internet favored the emerging of new and various forms of interactivity.
Video art practices in India, has arrived in reality rather late on the global art scenario.
The video artscape abroad is quite different. Though it was in the mid 60s that artists first
started using video, it took more than thirty years before smaller projector models were
introduced in the consumer market. This fascinated a break through vis--vis video, exhibitions
and the so-called 'new media arts' so much so, that today, any international exhibition without
projectors and monitors is almost unthinkable taken with the process of Global isolation that
took the art world by storm in the ' 90s. It is not surprising that more and more video works
from non western countries have found their way in curate shows in the west.
Browsing through
video art in India (2003),
Press, one tends to get
video art has substantial
book gives the impression
form has conquered a
sculpture for which there
that
time.
John
beginning
of
the
reader through the works
practitioners of the first
Malani,
Novjot,
Sundaram,
Ranabir
B.V.Suresh as well as
artists of the younger
likes of Sharmila Samant,
Gupta, Subodh Gupta,
Khurana and many
recent years have been facing an almost similar predicament as Jyotiprasad did 75 years
ago - there is a dearth of theatres to screen their films.
Assam's contribution to the film world beyond has also been significant with Pramathesh
Barua, a contemporary of Jyotiprasad and a scion of the royal family of Gauripur, a small
erstwhile princely state in western Assam, being the most prominent. The people in the
"industry", if one may call it that just for the sake of argument, even though in reality it is more
a passion for cinema that drives a bunch of people to indulge in filmmaking, are debating
ways to get the local cinema out of the rut, back to what was once a relatively healthier
situation in the 1970s and 1980s, when filmmakers could hope to not only regain their
investments but also probably make some profit to start their next venture.
But the lack of commerce has been made up many times over by the national and
international laurels that some of the state's filmmakers have brought in over the years,
particularly starting from the second half of the 1970s, even as the typical masala film or the
family tearjerker made news at the local Box Office now and then. If Piyali Phukan (1955) by
Phani Sarma was the first film from Assam to earn plaudits outside, winning a Certificate of
Merit in the National Film Awards of India, in 1959 Puberun by Prabhat Mukherjee was the
first film from Assam to be screened at an international film festival, in its case Berlin.
(Barpujari: 2010) describes as, "Dada Saheb Phalke Award winning singer-lyricistcomposer Bhupen Hazarika, mentored as a child by Jyotiprasad Himself, was one of the key
contributors to Assamese cinema too, making films like Era Bator Sur (The Tune of the
Deserted Path), Pratidhwani (The Echo), Latighatiand Chikmik Bijuli. But it was in 1976 when
Padum Barua made Ganga Chilanir Pakhi, giving a new direction to Assamese cinema.
Barua's only film, it was the first film after Joymoti to give a realistic treatment to the subject,
eschewing melodrama and presenting a story reflecting the society in rural Assam. The next
year saw the emergence of Bhabendra Nath Saikia through Sandhyarag, based on his own
novel. The film attracted the attention of the world beyond to Assamese cinema. Saikia, a
physics professor-writer-playwright-director, made a mark internationally through his simplytold stories in Anirbaan, Agnisnaan, Kolahal, Sarathi, Abartan, Itihaas and Kaalsandhya." 6
If Saikia provided the spark, Jahnu Barua fired Assamese cinema to greater heights.
This FTII-trained filmmaker started off with Aparoopa and its little-known Hindi version Apeksha
in 1982, and went to highly-acclaimed films such as Papori, Banani, Pokhi, Kuhkhal and
Konikar Ramdhenu. His Halodhiya Choraye Baodhan Khai (The Catastrophe) and Hkhagoroloi
Bohu Door (It's a Long Way to the Sea) won a host of top international and national awards.
Following his footsteps, a host of filmmakers emerged, tackling diverse subjects in a realistic
tone, some of whom are Gautam Bora, who made the outstanding Wosobipo (1989) in the
Karbi language, Sanjeev Hazarika (Haladhar andMeemanxa), Santwana Bardoloi (Adajya),
Bidyut Chakraborty (Rag Birag), Bodo filmmaker Jwndao Bodosa (Alayaran, Hagramayo
Jinahari) Manju Borah (Baibhav, Akashitorar Kothare, Aai Kot Nai) and Sanjib Sabhapandit
(Juye Poora Xoon, Jatinga Ityadi). In this regard, Gauhati Cine Club (Estd. 1965), Forum for
better cinma, Anwesa, Assam cine arts society (ACAS), Bikshon (Silchar) are few names of
organisation within Assam who really has been laudable jobs as creating atmosphere for
viewing good films from all over of our country and abroad.
In our state Assam, since 1980s, some film enthusiastic personalities, after
taking initial training from renowned film- institute of Pune, Kolkata, Guwahati and also other
part of the globe as Berlin; has been able carved a niche in terms non feature film movement
in India with their low budget short and documentary film making. Jahnu Baruah, Gautom
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Bora, Mouli Senapati, Jhang deo Bodosa, Pinky Brahma Choudhury, Abhijit Das, Aparaj,
Moni Bhattacharya, W Dorendra Singh are few names who takes over the whole generation
not only with their talents, enthusiasm, mastery on film- craft but also along with their
intellectually sound laudable works. Along with them, Altaf Mazid, Gautam Saikia, Biswajeet
Seal, Sandipon Bhattacharjee,Soumitra Adhikari as being self taught film makers, made
some wonderful short films, touching the core of some vital themes within our state Assam as
on human bond, eminent personalities, man animal conflict, natural disaster etc. Remarkably,
with his short films as'Jiban', 'Lakhtokiat gulam', 'Bhal khabor','Boliya pitair sohoki sotal', Altaf
Mazid has carved the niche both national and international arena, depicting sensitive portrayal
of local multiplicities along with universal plead.
As avant-garde, new generation of film-maker, video artist, alumni of National Institute
of Design, Ahmedabad and participant of famed Khoj residency, Mriganka Madhukallya and
Sonal Jain's joint initiative 'Desire machine' has been done several video works and
experimenting it conceptually with various burning issues in the backdrop of violence- torn
North-eastern States. Video work 'Daily check up', duration 8 minutes by Desire Machine
collective made as part of Khoj residency2005. The video looks at the politics of remembering
without excluding for forgetting. The hierarchy between memories and real events is dissolved.
The collective memory of people is as a reflection that runs from the personal to political. The
memory of intimate bodily violence experienced everyday in the Northeast India, of a region
of imposed geographies pushed into periphery of a nation's imagination.
Worth to mention that, Khoj residency of Guwahati chapter has been organized by them
in Guwahati at a ship in the river bank of mighty 'Brahmaputra' called 'Periphery' since few
years. This year they had been praised for prestigious Venice Biennale participation as
representing India along with their video works. A comprehensive observer Shake Shack
remarks on a particular film by Desire Machine collective as obnoxious characterization in
this juncture, "I just went to the Guggenheim to see Desire Machine Collective's film Residue,
2009, full of slow-motion pans through an abandoned factory in India as weeds and decay
take over. I'd seen part of it when Stephanie's family was visiting. What drew me back was its
sound design, which is like Philip Jeck jamming with Aaron Dilloway - damaged vinyl crackle
juxtaposed with deep sub-bass moans and Buddhist throat-singing. It's cool and I definitely
recommend it if you're not crowd-averse."
'Adda', an initiative of yearly short film festival has been organized in the street of
Guwahati city and also few small towns of Assam since few years. Noted litterateur Sourav
Kumar Chaliha describes his experience of 'Adda'(means gossip) Short Film Festival in his
writing entitled "A viewer's Impression",
"The basket of short films prepared for 'Adda' would seem to fall into two broad categories:
" Films with a story-line (e.g. The Reflection), and
" Films with no recognizable story-line (through perhaps with some underlying theme,
e.g. Do the Dew, Architecture.Rose)
Not all can pretend to understanding or enjoying the second variety, but what strikes the
viewer about both of these types is that there is nothing casual or slipshod about them.
Nowhere is there any attempt to cut corners and finish the film somehow or other and be
done with it (unlike many of our so-called mainstream or commercial film). One can see that
a good deal or thought has gone into them, and that the young directors (and their associates)
have taken great care to present audio-visually what they have in mind. An attitude that is
10
eminently laudable." 7
In recent years, thus a group of group film-makers and cine artists has been emerged
promising future generation as Anshuman Barkakoti, Sasanka Das, Dip Choudhury, Utpal
Choudhury, Biswajit Changmai, Jhulan Krishna Mahanta,Dipnkar Sarkar, Suroj Duwara,
Anubhav Mahanta, Bonti Bora, Deep Kamal Gogoi, Tinat Atifa Masod, Merjur Rahman Barua
has received the commonwealth vision award2006 for his film "Beyond the Zero Line" from
the Royal commonwealth Society, United Kingdom and Best Director's Award at the Hyderabad
International Film Festival 08 for his film "Shifting Prophecy". For the same film he has received
Rajat Kamal for best film on Social issue in the 55th National Award 09.
Jayanta Bhattacharjee and Monoj Chakraborty are those few artists from painting and
sculpture background respectively, engaged in experimenting with video art in this part of the
country.
According to Garo film maker Dominic, "If making a feature film is writing poetry, then
short film making is writing Haiku. Both the category demands specific crafts. It's just that the
short film is still in its fancy; it still needs to grow, develop and mature." For rather newer
generation, the option of using short film presented itself as a budget saving digital technology.
"We, who believe in digital technology, never stop thinking towards a production of film in
other format and the best part is that it is a total success among viewers." 8
In this juncture government, non-governmental agency, corporate bodies and above all
viewers/ public has to be really responsive to take special attention, nourishment, also proper
initiative towards these film makers in this troubled torn part of our country.
References :
1.
2.
3.
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FEATURE
Comic-culture in India
RAJIV BANIK
Did you ever, as a child, flip through a storybook just to peek at the pictures first? You
must have realised that fewer the pictures, the more boring they must be. Well, a story is a
magical thing and half of fun is in how it comes alive through illustrations. It's actually the clan
of adults who are pencilling restlessly to spark an imagination in a child's mind. Alas, the
illustrators in India did not get the recognition which they deserve.
Bantul the Great, Chacha Choudhury, Phantom, Nagraj, do these names ring any bell in
your nostalgia? Yes, I am talking about the legendary characters of the comics. The characters
which has given you hope, laughter, courage, education, entertainment and lot more than
you have expected. Let us take a tour down the memory lane.
The realm of comics has evolved relatively later in India than in the West. Around three
decades ago comics were not much in vogue in India. The selection that was available was
in the form of imported digests and books like Tintin (originally French private detective),
Asterix and Obelix (superheroesof Gaul, erstwhile France), Archie and Commando (war stories
of World War II) etc. A costly product for an average Indian, these comics were rather available
to the children of the wealthy. The change came in the mid '60s when a leading newspaper
publication house of India launched Indrajal Comics. Itwas the first serious effort directed
towards the evolution of comic culture in India. Well within the buying capacity of middle
class children, Indrajal Comics made foreign comic heroes like "Phantom- the ghost who
walks", Mandrake the magician, and Flash Gordon household names in India. The immediate
success of Indrajal Comics gave a further boost to the indigenous comic industry and in 1967
came the educational comics series called Amar Chitra Katha (ImmortalPicture Stories) by
Anant Pai, who is also considered as the father of Indian comics. A welcome change, Amar
Chitra Katha effected a fusion of the rich treasure of folk tales and exploits of mythical and
legendary characters in comics. Each of the comics in this series was devoted to a person or
eventin Indian history, religion and mythology. Anant Pai conceptualised all of these and
wrote the scenarios for most of them. With over 70 million copies sold in the last 40 years
these comic books are regarded as internationally successful.
12
References:
13
REPORT
Shawon Akand
14
TITLETITLE- INDIAN
INDIAN LEAF
LEAF
SHOP
SHOP (ARTIST(ARTIST- NIRUPAM
NIRUPAM DAS)
DAS)
Rikshaw Painting
the rickshaws of Bangladesh were painted gorgeously with high contrast of colours and by defined
contours. Shawon's idea was to transform this cultural genre of rickshaw painting beyond his
own soil by breaking the political border of two countries through a process of a typical act of art.
He had tried to enhance a form of art where installation, site-specific and performance art can
intermingle together with the common folk. The performers of the workshop begin their work by
trying to search out the source of the rickshaw making and in this active process participants
have started to interact with the common people (especially the rickshaw pullers) and getting
acquainted with their culture. Shawon inspired them to paint rickshaw with the images of their
own cultural elements to enhance the presence of self as a being in the work. One of the
participants, Gangotri Das Gupta expressed her view about her new experience in such
unconventional practice of art and said, 'It was a new experience for me to paint upon the back
of the seat of the rickshaw. When I was doing my work I felt that I was doing a moving installation.'
Generally rickshaw is an insignificant object, which is owned or borrowed by the poor people of
the society. But when it is painted with gorgeous colours and delicate motifs, it becomes an
attractive object for the common mass because of its visual appeal. This new transformation of
the trivial object also inspires the poor people who were economically attached to it and this
whole event can be treated as a celebration of the native subject against the so-called value
system made by the society.
The 3rd day of the workshop was held in the village called Choto Dudh Patil, quite close to the
town of Silchar on the bank of a small river Madhura. Sandipan Dutta Purkayastha, the organizer
of Shilpangan and the artist, Sawon Akand had searched out a space adjacent to a school and
local huts at Choto Dudh Patil. Shaon and the other participating artists of the workshop had
already explored the various corners of the site with their contextual possibilities.
Artists were divided in groups to carry out different site-specific installations and developed their
works through the continuous process of interaction with the local people. It was a group work,
15
which was the central idea of the workshop to enhance a work of art by de-authentification of the
signatory value of a single artist. In this process artists had made their group and shared their
ideas with other and tried to make a faithful work of art that may communicate with the culture of
the common people.
Artist Shaon Akand made an installation with a log and nails in a circular arena and textured with
colourful dusts. The title of the work was 'Celebration of Source'. This installation was lit with
candlelight at evening along with a musical performance of the local people. It was a deliberate
attempt by Shaon to spread his work among the common mass without any individual
authentication. This particular work may have started with the urge of an artist to search out a
source, but it was no longer an individual work after a time, when other participants got involved
with the work and shared their hands in the making of installation, lit up the candles. At the end
a musical performance was performed by the villagers within the premises of the arena.
The small village of Choto Dudh Patil really became a new arena of cultural amalgamation,
when different groups of artists started executing ten site-specific installations in an open horizon.
These young artists primarily tried to collect materials from the resources available on the selected
site, except a few things like powder-colour, plastic bag, soft toy etc. These ten site-specific
installations were executed with specific titles to create a textual approach to the visuals. The
works are titled as, 'Hanging Life' done by the artists Jagotjyoti Paul, Tapajay Roy and Subhabrata
Choudhury, 'Endless Journey' by Rinki Nath, Suparna Bhattacharjee, Sanchita Nath, Sourav
Baishnab, 'New Post Office' by Swarnali sarma, Bithi Singha, Prasenjit Banik, 'Dragon Fly Home',
by Sabita Deb Nath, Payel Goswami, Rumi das, Mili Barman, Bijoy Deb, Uttam Ghosh, 'Paradox
of Museum Culture' by Sanchita Nath, Sourav Baishnab, Prasenjit Banik, 'Indian Leaf Shop' by
Nirupam Das, 'Intimacy' by Kishan Bagdi,Bibhu Suklabaidya, Tirak Nath, Kishore Sukla Das,
'Lost Nature's Beauty' by Kishan Bagdi, Bibhu Suklabaidya, Tirak Nath, Kishore Sukla Das,
'Intact' by Gangotri Das Gupta, Nayak Amritanand and finally "Celebration of the Source' by
Shawon Akand and the group.
In the installation of 'hanging Life', artists like Jagatjyoti, Tapojay and Subhabrata have hung
some pieces of barks (collected from local trees) from the rooftop of a room with long threads.
When evening descended and everything became dark in the area, the artist's group suddenly
lightened up a piece of candle outside a window just across the work. It was a marvelous view
when the work was seen from the dark room with a semi-silhouetted projection. Here another
interesting possibility was built up with the fact that one can roam around the work, having the
touch of the objects of art and can interact silently with the whole visual ambience.
Gongotri and Amritanand made an installation named 'Intact' with metal utensils locally called as
handy, which were collected by the artists from the local huts of the village. These artists have
placed those utensils in a circular pattern upon a bed of hay simply to show the transformation of
the identity of common object in the other space.
This splendid effort of the workshop came to an end with an informal adda and casual interaction
among the local people, organizers, artists and people who visited the place to observe the
workshop. The efforts undertaken by Shilpangan and ACRDS in associated with Sarbagin Manab
Kalyan Sanstha a local NGO to make this programme successful are undoubtedly appreciable.
This workshop has not only encouraged people to familiarize themselves with such kind of practice
of other art, but also it has established a confidence among the people to conceptualize new
thoughts or ideas from a marginalized space denying the parochial occupations of the centre.
COURTESY- ART & DEAL, NEW DELHI
16
INTERNATIONAL
FACE TO FACE
ROLLIE MUKHERJEE
This is an interview with the curator Kathleen Wyma about the show she curated titled- "The
Material Point: Reconsidering the Medium in the (Post)modern Moment", from 20 July - 19 August
2013, at Gallery OED, Cochin.
Rollie : The trajectory contemporary Indian art took was very different from that of the west. From
an imposed idiom it moved to a cultural exploration by emphasizing on the living tradition, barring a few
exceptions. So here, unlike the west, the artist in India have resorted back to the traditional past not
only for the history but for its method and materials. How do you see this bent where the traditional
means is not absolutely rejected?
Kathleen : Ok. I am not sure how this question is related to the show - can you clarify? Let me
first offer a preliminary response and say I think that maybe you are referring to a Subramanyan-esque
idea like the "living tradition" and so I will begin from there. Subramanyan notes in 1971 that many
artists working in the post Independence moment were struggling to find an "identity" and to gain
insight into their role in the world at large. This is understood as something that is not specific to India,
as many artists across the globe where struggling to find an appropriate place and language. Significantly
though, within India, the struggle takes on greater importance given the country's postcolonial status
and the emerging dominance of American style painting in the 60s. It is against this historical backdrop
that Subramanyan notes in his "The Struggle for Image in Contemporary Indian Art," published in the
Fine Arts College Alumni Get-Together Souvenir (1971) that struggle is the stuff of an artist's life; it is
that which enables the creation of not only a valid artistic language but also valid images. So with this
in mind, the idea of a living tradition may be more focused on the aspects of "living" rather than "tradition"
and if this is the case, then such an approach produces results that are much more prismatic.
If there was - as you say - a tendency of the Indian artist "to resort to the traditional past" I would
counter and ask whose past? To suggest that there is (or was) a stable tradition is problematic as
collapses a diversity of engagements into a singular expression. History tells us that Geeta Kapur,
Swaminathan and Subramanyan all had different takes on the methodologies of modern art and the
role of tradition within it. I think that some of the opinions registered in the pages of Vrishick and Contra
66 or even early volumes of Lalit Kala Contemporary (to name a few) suggest that there were an
abundance of positions regarding the role of tradition. If there was a consensus on some level it may
have been that the long history of Indian art could function as a barricade to slow the encroachment or
the blind mimicry of the modern art from the west and perhaps this is what you mean. While these
issues may characterize the 60s and the 70s, I think that artists living and working in India today have
varied approaches to art making which may or may not have anything to do with traditional art practices
and if there is a traditional past, as you say, present in the work of the artists in my show then it is one
which emerges on a personal level as an engagement with the self and ones own personal history rather than with tradition writ large but really that is a question to ask the artists.
Rollie : "Tradition" again was not only seen in the cultural and historic , but as you had suggested
non traditional materials, which I read as non conventional mediums like painting, sculpture etc "which
valorises and promotes the singular fine art object". So my question is whether the post modern
initiation is understood with an inventive use of non traditional material which somehow seems a
default for being post modern and claims for being contemporary currently. Also I suppose the dilemma
of trying to being Indian yet at the same time contemporary is a recurring theme and concern all
through in the Indian art in the entire stretch of the country and not only the narratives in Baroda and the
swaminathan style traditionalism (One more interesting aspect of Indian art history is the canonization
and the spokesman ship of speaking for the tradition by the select few which needs to be implored).
Though with the onset of globalisation and neo imperialism and the subsequent opening up of market
and the sudden surge in the new media art practices unabashedly derivate from the west churned out
17
of magazines and of course the ill informed and biased art academies has not necessarily brought a
radical change in viewing of art though now it's in different mediums. Don't you think the revaluation of
the material in conventional ways of practices seem to be more potent when compared to the so much
formally different mediums but fundamentally similar works of art sold consumed within the framework
of art world alone with whatever little spillages and forays into public arena.
Kathleen : Interesting. Yes as I said above the notion of tradition as it played out within a given
historical moment is as prismatic as the engagements with it. And I agree that globalization and the
liberalization of the economy introduced a change in artistic practice but not necessarily a change in
viewing practices. I can be quite cynical about this, but pessimism is wholly unproductive and tends to
put a full stop on further conversation or understanding. Within the context of the exhibition, I was
particularly interested in work that employed non-traditional materials and creating a space through
which to consider the current state of "materiality" and its role in artistic production. In particular I was
curious about how the tendency to "salvage" impacts artistic practice in the "post modern moment" (in
deference to time rather than style). I don't think, or at least I hope, that new materials are not, as you
say, "the default for being post modern and claims for being contemporary." And further to this, I
apologize but I cannot state with any degree of certainty whether the use of nontraditional material is a
leitmotif of postmodern art because I think that the field is too complex to make such a conclusive
declaration.
In further response to you query about material, I would like to stress that I was particularly interested
in how artists reuse "old materials" in new ways. If one looks at the work included in the show from
Ranjith Raman's use of embroidery to create an image or Riddhi Shah's use of melted wax or Manish
Nai's repurposing of newspapers one can see that the focus is upon practice and engagement with
materials. With this is mind, one of the operating assumptions of the exhibition was to pose questions
about how the repurposing of materials (not necessarily objects) for artistic expression can be seen as
representative of a contemporary critical stance that reflects "real time" social and cultural inclinations
and concerns. Let me perfectly clear and say that repurposing was not simply about going to the shop,
buying something, putting it the gallery and stating with Duchampian certainty "this is art!" Objects
bought in the shop and put directly into the gallery run the risk of erasing time and labour - they are in
some ways the ultimate expression of Marxian alienation. This is where I was fascinated with exploring
Smithson's notion of entropy and the creation of what he identified as anti-monuments - things that
empty out time rather than accumulate it. The issue of time is very important to me, but perhaps I
betray my disciplinary allegiances with my concern over a lack of historical consciousness.
Rollie : Post modernism encompasses a huge variety of art practices, but in your curation "the
Material point: Re considering the medium in the post modern moment" seems to focus on materials
which are non conventional and ephemeral, with its emphasis on readymade and recycles.Is there an
attempt to equate post modernism to the concept of 'new'?
Kathleen : No there is no intention on my behalf to suggest or equate postmodernism with anything
new. Post modernism is a problematic term at best, its very linkage with the modern suggests that no
break has occurred and so therefore it could hardly be considered a new concept but rather one, which
recycles the old.
Rollie : By catering to Smithsonian idea(which advocates to shun traditional materials and prefer
a less durable material thereby facilitating a different vision of time) but by exhibiting within a white cube
don't you think that the very Smithsonian notion, which is for a site specificity, seems to fade, as the
gallery space adds an aura to the work of art and transcend it from mundane and rise it to the level of
"Art"- where art is valorised and promoted as "art object"
Kathleen : Well, I would not say that I was catering to a Smithsonian idea as you say; rather I was
exploring a concept that he advances - one that I might add - he borrowed from the theory of
thermodynamics in his essay "Entropy and the New Monuments". Your question seems to suggest
that because the exhibition took place within a gallery, Smithson's ideas of entropy are nullified - I do
not see this as the case - as in fact Smithson is not specifically writing about his own earth works or site
18
specific interventions but rather the essay stood as a critique of the work of artists within the space of
the gallery. To be sure, Smithson is writing in a moment of tremendous cultural change - a moment that
witnessed the escalation of the cold war, there was a lingering crisis over the emancipatory possibilities
of "progress," painters and sculptors were no longer wedded or identified by their materials of choice
and Alan Kaprow claims that everyone can be an artist! Performance - process - land art - feminism I can name a million changes to the field but the net result is a pushing of the limits of artistic practice- a push and a change that witnessed the birth of the postmodern.
Rollie : You suggested at the end of your curatorial note the possibility of breaking free the gallery
space and entering into the realm of public .Your emphasis is on the exchange of ideas in the market
place of social and cultural circumstances. This would have definitely aided in breaking the elitism
because once art enters the gallery space it is destined to be in an elitist sphere. Here the real time
vanishes into a spiritual space. How do you think a gallery space can give a similar level of interaction
as a market space.
Kathleen : I agree that the gallery tends to be an elitist space but not always. I would contend that
OED, given its location in Mattancherry, is a unique site that resonates with the historical cosmopolitanism
of the area. The gallery is a restored godown, which enjoys tremendous international tourist and local
traffic; therefore, it is a unique space that does not only cater to the elite. Its location beyond the pale
of the metropolis allows accessibility to all - whether the gallery-goers are Indian or not. Many, many
people came to see the show and I talked to people from all over the world who were quite surprised to
see the work. People, who would not normally venture into a gallery in their own cities, or in places like
Delhi or Mumbai, crossed the threshold of OED to have a look.
My purpose was to start a conversation - it was not to tell people how to think or to give answers.
It was not to pontificate on the evils of elitism though I am well aware. To my mind, we all must work
within certain structures. I am curator and at this point I work within the spaces of the gallery as
problematic as they can be at times. To my mind an engagement is always better than being silenced
and not contributing at all or giving into the pessimism I mentioned earlier.
As to the second part of your question about the social and cultural exchange - people from other
countries still seem to think that Indian art is all about "traditional" art - what ever that is - and many
were surprised about the kind of work that was being done by the artists in the show. I see this as a little
coup for the artists and their practice - as their work widened the conceptual horizons of people beyond
India. It is in this context that the gallery, as I suggested in my concept note, can serve as a nexus point
of exchange. I referred to it as a "market place" not in terms of elite exchanges of financial or social
capital but rather a unique space (particular to Kerala and the location of OED) whereby "ideas" could
be traded, discussed or debated.
Forgive me but I also have to say that I do not understand what you mean when you say that real
time vanishes into spiritual time - this sounds very orientalist to me. India lives in the real time, as do
many of the artists living and working there. Although the work in the show had something to do with
time for sure but emphatically there was no connection to the spiritual or the religious - perhaps I am
not getting your meaning.
Rollie : When I meant spiritual I was trying to equate with the notion of the transfiguration of the
commonplace art objects into work of art through and within the art world comprising the gallery, artist,
critic, collectors etc... I was also mentioning it with the view of reading a work of art as a magical
experience within a sacred space.
Kathleen : There was not a transfiguration of commonplace art objects in the show. The work in
show for the most part repurposed old materials to create new objects. I cannot say that this allowed
for a magical experience within a sacred space, as I emphatically believe that the gallery is a space that
is completely void of aspects of spiritualism. If you mean to suggest that galleries are the new temples
and artworks are the new icons or objects of veneration then that is worthy of a further and longer
conversation between us and I look forward to an interesting discussion in the future.
Rollie : The politics of a material can be dealt with despite being conventionally inclined. A
19
20
REVIEW
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21
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23
REVIEW
A showing of paintings and drawings by nine artists is held at the OED gallery in Cochin from
15thMarch - 14th April, 2014. The show has been conceptualized by artist/writer Rollie Mukherjee
whose paintings too are part of the show. Below is a detailed review of the conceptual framework
of the show and the artworks of the nine artists.
Between the beginning of things and the end of things lies an infinity of infinite complexity and
within this infinite complexity dwells man.
We live amidst an immense ocean of knowledge, experiences, situations and stories and in
order to see, to interpret and to ascertain any meaning from it we need to begin somewhere and
for that what choices do we actually have? Every time we begin to ponder about this we discover
that we must inevitably begin to make sense from within the middle of things because the middle
is where we are all embedded.
'In medias res' (Latin "in the midst of things") is the literary and artistic narrative technique of
relating a story from the midpoint, rather than the beginning. The key is to tell a story by plunging
directly into the most crucial part first which is related to the chain of events in various ways. The
narrative then moves forward with random flashbacks shedding light on earlier events to reveal
the relationships between different constituent parts. The Illiad by Homer is a great example of this
technique as are many others. The reason for starting in the middle is to select the most interesting
opening for a story or an artwork under scrutiny so as to maintain the utmost interest and take the
viewer directly into the midst of the action.
The content of the present show of paintings and drawings precisely embodies this very narrative
technique. This show consists of paintings and drawings which can be read simultaneously from
different angles and which manage to endlessly project multiple meaningful interpretations within the
viewer. The idea of 'medias res' is to create a multi dimensional perspective of the observed thing by
selecting a strategic observational point from somewhere in the middle in order to generate the most
enriching possible experience immediately from the first instance onwards. It is like jumping straight
into the heart of the story and slowly unraveling the plot and in the process letting the viewer take an
active part in the interpreting of meaning by simultaneously focusing on the many aspects involved.
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Rollie Mukherjee titles the show as, (In) to the middle of the "stories" because her working
conceptual framework is based precisely on the idea of 'medias Res,' Here is what she has to say,
"When a work of art is exhibited in a gallery, it is always in the Medias Res. The work of art as a text
produced by the artist is now open for the viewers for an interpretation. The artwork is in fact read
in the Medias Res where the overlapping meaning of a work of art as an aesthetic experience, as
a commodity, as a virtual entity, as an ideology etc merges. The significance of such a reading is
that one doesn't start from or search for a primordial beginning of a work which has been for long
the guarded territory of the author or artist. One begins from one's own position as a viewer
responding to a visual text at front which is already mediated and permeated by various ideologies.
The unwanted attachment with the illusionistic idea of innocent and honest eye of viewing is done
away to a matured responsible and conscious viewing process."
Each artwork in the show has a story to tell and lay bare open the constituents of reality to the
one who is willing to actually see. The paintings and sketches are somehow related to our own
stories and fates. Our stories are the stories of reality which we have lived through and stories
which we know nothing of and stories that are yet to come and whose part we may or may not
become. Nine artists and nine different perspectives on reality but all somehow encompassing a
common theme. Lets take a look.
Sarika Mehta's minimalistic and uncomplicated paintings and drawings catch the viewers
attention as if allowing a moment of relief for the eyes and intellect but strangely the relief is only for
a fleeting moment because immediately after one is irrevocably pulled into the exercise of attempting
to see more and one begins to feel that something about the work stands out and calls one to read
in further. One of her drawings of water falling from a tap and getting spread on the floor in a small
puddle is quite simple enough to make sense of at first but it goes beyond and manages to fascinate
the mind somehow because of the simple yet deliberate anomaly put in by her that the water does
not fall off from the tap in a straight line through gravity as it should but flows out and falls in a curve
as it reaches the floor thus defying the gravitational laws. Another work of her, a painting consisting
of little flowers scattered out of a fallen transparent plastic glass is quite simple to read at first but
then one starts to notice the extraordinary meticulousness put in by the artist in painting the flowers
making them seem as if they are almost real and thus drawing one's attention to this detail and
making one contemplate the various intentional and unintentional interpretations and relationship
of such a simple situation to the actual reality of the world in the midst of which we are forever
striving to live.
Priti Vadakath's work 'The sea of lost time' is very interesting work for two reasons. First the
painting at first glance seems quite simplistic but stay with it for a while and you will see new things
open up. It is a perfect example of the work forcing multiple interpretations on to the viewer than
that which the artist might have primarily intended. When you look at the painting it seems four
elder men are sitting casually and you may tend look at it and move on but just linger on for a few
seconds and you will feel a transformation that the men are not merely sitting but in fact in guise of
casualness peering at you very intently as if with some unknown yet focused purpose. The viewer
becomes 'the viewed' and the men in the painting bestow a critical judgmental eye upon the viewer
thus somewhat unsettling the viewer momentarily and at the same time making the viewer look
inward forcing a quick self reflection. The painting is mostly monochromatic and composed of four
elderly men sitting in a nonchalant manner side by side draped in monolithic seeming white clothes.
Another thing to note is that the painting is composed of two panels thus the four figures divided in
middle by a line of separation and this division enforces a feeling of scrutiny from not one but two
different perspectives, it is as if two different ideological groups are scrutinizing you thus adding
more to the gravity of scrutiny. Apart from the figures of men the artist seems to have kept the
background quite minimal thus not allowing the viewer to focus much elsewhere but only on the
gaze of the men in the painting. Both the dimensions add a kind of unsettling and slightly surreal
25
experience leaving the viewer inescapably with some moments of self -reflection.
Rollie Mukherjee's exquisite water color paintings are primarily concerned with the projection
and dissection of the falsity of the notion of freedom of women which in fact is not there in a
patriarchal system of today's modern world. Her highly narrative and forcefully suggestive works
done in simple but vibrant colors carry a somber tone. A striking feature in her paintings is the way
she paints the faces of the women creating a subtle expression of alienation and inner sadness at
the situation of things amidst which the women inevitably find themselves pushed and shackled
and have their freedom undermined in multiple ways and forms by the modern patriarchs. In her
paintings she paints the women in various avatars and places them against sometimes a lyrical
and sometimes against a gruesome background so as to complete the inherent story as well as to
document the entire range of possible fundamental situations for the woman. Her paintings make
one ponder seriously about the validity of the societal customs and questions the so called modernity
of the world which ironically does not seem to extend into the domain of how women should
actually be seen and treated.
Shruti Mahajan : Shruti Mahajan's work is immediately intriguing. The composition is very
well done and visually balanced but the overall subjective reading of the image with all the elements
present within the room indicate that something of vital importance is missing and the viewer is
immediately directed towards it and an unmistakable sense of urgency is evoked. The open door
on the far right of the image and the state of various things within the room suggest that someone
must have been there and is now gone but this simple suggestibility is highly intensified by the way
the painting is painted. First by the unidirectional diagonal composition and second by the loose
yet controlled brush strokes which being quite easily visible create a dynamism on the painted
surface because of the play of uneven continuous shades generated by such application of paint.
This adds to the overall intended dynamic atmosphere of the painting. It feels like the viewer has
been thrown into a middle of an event which has slight tones of foreboding of some kind and the
viewer must deal with the incomplete information and must strive for a conclusion to cull the
uneasy curiosity.
Puja Puri in her work attempts to concretize the inner conflict of existence within children and
ragged people who are thrown in middle of tough circumstances in life. The inner material of shaky
and straggly lines that builds up her work, 'Dilemma of a heiress' is suggestive of the various
conflicts that rage within the self due to the seeming unfairness of the situation that life has put
them in. Look at the work a little further and it does not seem that there is just merely a state of
irrevocable dilemma but there is also a succeeding inner resolve and an inner will to overcome
however difficult circumstances life has rendered and that manages to inject a valid sense of life
within the work.
The works of Sajeev Visweswaran's at quick glance are simplistic and frugal looking drawings
and paintings which seem to be concerned with the projection of the ordinary. However the
ordinariness is not simple as it might seem because he manages to bring viewer's focus on the
ordinary things in life in such a way that the ordinary gains a subtle importance and meaning. It
seems as if the artist has a certain wistfullness born out of relating to these ordinary things and
observations whose frugal yet aptly detailed depictions direct viewer's focus to a certain overlooked
vitality within things that most think as ordinary and unimportant. Simple things and observations
of everyday life carefully chosen and arranged to show that simple is not always simple and it can
have multiple interpretations within multiple contexts which one must explore and discover its
importance if one is sensitive enough a being.
The immediate feeling after looking at SN Sujith's paintings is that of some kind of aftermath
has occurred which has very menacing undertones. The grim but dreamy looking surreal landscape
in which Sujith places his imagery further accentuates this feeling of menace. What exactly is
going on within this carefully selected setting is a mystery to decipher but one can make out that
26
whatever it is, is something serious and probably concerns everyone. Unlike other paintings in the
show Sujith does not provide the viewer any direct clues about what the work is exactly about but
he kind of throws a challenge to the viewer to identify the meaning of what is and thus igniting a
number of inescapable questions like why is landscape so deserted, where has everyone gone,
what could have happened to force the things to a state of conclusion as they stand in the picture.
In one painting there is a fallen horse and another a statue of someone as if an authoritarian but
every painting contains prison camp like architectural structures suggesting that it must have
something to do with brute authority and oppression and rebellion of sorts. What do they all suggest?
Is it that an authoritarian state has been thwarted and made to eventually end but at what price?
Maybe at such a heavy price that none's left and all is deserted. Is the painting about the evil of the
dictatorial power of an oppressive state in order to show what such power game can lead to? How
is it related to our world of today? With our all powerful governments and power brokers at helm
aren't we as a society moving in the same direction to reach a similar gruesome and dismal fate?
All these questions arise in the mind and the painting beckons one to pay attention to a fate which
seems to have been time and again written and played in our historical past but that which everyone
tends to overlook but should not.
Mahesh Baliga's works, Small colorful paintings constructed with varied elements creating a
beautiful visual harmony of colors, figures and lyrical landscapes are a joy to watch. The painting
is painted with multiple layered paint using various painterly techniques to create a colorful aura
about it as if to romanticize the mundane world in the way so as to overcome 'what is' and show
what can be i.e. reconstructing the seemingly monotonous reality to convert it into that which
consists primarily of beauty and harmony thus lending to it a kind of vibrant vitality. In one work a
casual figure lying down below an exquisitely multi hued tree against a rich purple sky and in
another an intriguing yet beautifully colored bird sitting atop a fountain makes one yearn for becoming
a part of the painting to experience all that within the painting. The validity of the work rests in
showing beauty and harmony in things which otherwise would seem mundane and thus breaking
the monotony associated with everyday life.
Shivani Bhalla's paintings are like suggestive representational juxtapositions of figurative,
non figurative, fantastical and sometimes containing surreal quality like that of Chagall. Her paintings
tend to mostly encompass a variety of self oriented themes like that of a woman's tribulations and
her role in construction of life. One of her paintings titled 'In middle of nowhere' seems to be based
on ideas of absurdity i.e. the clash between the human tendency to seek some inherent meaning
in the painting and the human impossibility of finding any meaning. Such a unstructured composition
of landscape strewn with unrelated elements like animals in humanized forms, pulling out a river
from somewhere far off in the background on to atop a tree standing closer to the foreground as if
testing the elasticity and stretchibility of the water body for some reason or like opening up the soil
to display its inner structure in a playful manner but yet the composition makes one look for meaning
into the midst of such ambiguous relationships thus engaging the viewer to discover a subtle
intended metaphorical significance and its relation to the subconscious thoughts that forever dwell
within us as we navigate through life and time.
An artwork even if it looks simple is usually quite a complex phenomenon because what
actually goes into its creation is a plethora of thoughts, situations, histories, experiences,
philosophies, ideas, techniques, influences, emotions and what not. To read an artwork from the
paradigm of 'medias res' involves that the viewer be aware of all this and must interpret it as far as
his intellect may push him to decode the variety of inherent ideas, techniques, meanings,
philosophies, relationships etc in order to generate the most valid and enriching aesthetic experience.
One of the most powerful ways to do this is to read the artworks from as many perspectives as one
can muster so as to discover those seemingly hidden nooks and corners and diverse layers which
would otherwise escape a very casual simplistic viewer.
27
FILM
REPORT