ArtSlant - Current exhibits http://www.artslant.com/ind/Events/show en-us 40 Hare Krishna - Aakriti Art Gallery - Kolkata - March 8th, 2013 - March 18th, 2013 Wed, 06 Mar 2013 23:14:08 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Paresh Maity - Art Alive Gallery, DELHI - January 29th, 2013 - March 30th, 2013 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><i>“The amazing light of Venice is its most endearing quality. A clear sky, a mischievous cloud, a tantalising darkness... The quiet of the afternoon is suddenly broken by the pitter-patter of rain. Everyone runs for cover. The next moment sunlight sparkling on raindrops transforms the now deserted St. Marco Square into an impressionist painting” </i></p> <p style="text-align: justify;"><i>– Paresh Maity</i></p> <p style="text-align: justify;">It was in 1993, full twenty years ago, that Paresh Maity discovered Venice, a city that has since haunted him. Not unsurprisingly, Venice has been the source of inspiration for artists since the Renaissance, and Paresh Maity could have been simply one more artist motivated by the water city of the Medicis, except that his passion would probably have overwhelmed them. In the score of years since, he has returned nearly as many times, drawn by its incredible light, to paint by its waterside. His Venice landscapes have been avidly collected, as a result of which they are more likely to have been seen in his books than at any exhibitions outside of his <i>Venetian Odyssey</i> that travelled to Delhi, Bombay and Berlin.</p> <p style="text-align: justify;">The return of his <i>Venetian Odyssey</i>, like a sequel, is therefore both welcome as well as surprising. Welcome, because Paresh Maity has made Venice his own particular muse, and to see his reflection in his works of the city he loves and magically transforms into art is a joyful, almost spiritual experience. And surprising because, in a break from the tradition of his watercolours, this edition of <i>Venetian Odyssey</i> <i>Through the Lens of Paresh Maity</i> consists not of his paintings or watercolours, but of his photographs.</p> <p style="text-align: justify;">Paresh Maity has always been a serious photographer, even though he may not be associated with photographs. Not that he hasn’t exhibited his photographs before, but <i>Venetian Odyssey Through the Lens of Paresh Maity</i> is his first complete series and an exclusive photographic exhibition, and it serves to highlight his treatment of light and reflections which are critical elements in his watercolours.</p> <p style="text-align: justify;">In so many ways, the Venice that Paresh Maity captures – whether by brush or through his lens – is the Venice all visitors encounter: the waterfront and the canals, the gondolas and the reflections or silhouettes of a medieval city of trade and culture. What transforms it is his unique vision and his relationship with light that captures and turns it into enchanting glimpses into a magical mirror. The aching, impossible blue of a sky, the myriad colours of the waters on which the light dances a tango, the stark shapes of black-and-white images of a reality that can be seen all around but which, through his eye, becomes a cherished moment…</p> <p style="text-align: justify;">In using his lens like a brush, Paresh Maity brings to it the same sensibility, as indeed sensitivity, that marks all his forays in art. This ability to transcend mediums but retain the essential thread of a common dialogue is what marks his excursions to Venice – now no longer as a painter but essentially as a photographer. If there are commonalities that strike you, it’s because the artist, like the photographer, remains as much in love with Venice as with its enchanting light.</p> <p></p> <p></p> <p></p> Wed, 13 Mar 2013 23:15:18 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Group Show - Art Alive Gallery, GURGAON - February 3rd, 2013 - August 31st, 2013 <p>Art evolves and so do artists. Art Alive believes in the need for that continuous process of evolution and endeavor to create a platform where artists can enrich their experiences to share with their audiences. In our continues effort towards that, Art Alive presents Living Walls, an art project where a group of artists will engage in painting the walls of the gallery for a period of four days.&nbsp;</p> <p>We invite all art lovers to come and not only see but experience the evolving of an installation where the gallery becomes the site of a unique installation.</p> <p><strong>The Artists will work from 16<sup>th</sup> to 21<sup>st</sup> January during which you are invited to come and talk to the artist and capture the work. This installation will be on view till the end of February, 2013.</strong></p> <p>The core idea of the collaborative exercise is to enlarge the artists&rsquo; canvas and in doing so, involve the audience who would be witnessing the process of work and thus broaden their own experience of art.</p> <p><em>Sunaina Anand</em>, director, Art Alive Gallery says: &ldquo;This would be a dynamic live display of art which would showcase diverse selection of works. And the participation of live audience would only add to the dimension of the show. We are keen on exploring the culmination of such creative energies.&rdquo;</p> <p>Each artist will draw upon their own artistic imagination and use their idioms, styles, languages and ideas to create that visual impact. We believe, it is in the coming together of different voices that ultimately mergers into a rhythmic one, that we could create something experimental and fresh for our audience.</p> <p>There would be no theme, no boundary, no guidelines for each artist would follow the dictates of his or her heart making it somewhat challenging yet exciting as they get accustomed to working under the glare of live audiences comprising of media, critics and art lovers who would watch, interact and dialogue with the masters at work.</p> <p>The project would have an element of surprises and challenges. It would be unpredictable what the each of them would choose to do.</p> <p>The artistic dialogue is sure to inspire one another.&nbsp; It would create a collective platform to appreciate a new approach towards art. It would connect artists with different communities of the society to stimulate their senses and enhance a new experience towards their approaches. It would also inspire audiences to understand the potential of such collaborative energy to create work of different dimensions in public space.</p> <p>The entire process of work would be recorded and later produced in different formats to be displayed by the gallery.</p> Thu, 08 Aug 2013 00:05:21 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Rahul Kumar - Art Heritage Gallery - March 2nd, 2013 - April 3rd, 2013 Wed, 20 Mar 2013 22:24:04 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Group Show - Art Musings - March 14th, 2013 - April 13th, 2013 <p>As part of the Focus Festival Mumbai, Art Musings has collaborated with Tasveer to present 37 Indian Still Lifes. 37 of the leading photographers working in India today investigate the subject of still life, and to see how this subject can be explored in a specifically Indian context. Whilst one of the central genres in the history of art, this has been an all but neglected field of enquiry in contemporary photography in India - overshadowed primarily by the social documentary of Indian photographers and the increasingly conceptualized gaze of foreign reportage in India. As such, the cultures, events and landscape of India are often documented, but the presentation of physical objects, and the narratives therein, remain largely un-investigated</p> Wed, 13 Mar 2013 22:52:10 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Sooni Taraporevala - Chemould Prescott Road - March 6th, 2013 - May 4th, 2013 <p class="Pa0"><em>PARSIS </em>- an exhibition of photographs by Sooni Taraporevala presents familiar works from her seminal book on Parsis, but mostly comprises of works, yet unseen. Many of these photographs have been viewed across the world, but amazingly this is their first exhibition in her beloved city of inspiration.</p> <p class="Pa0">Though Taraporevala grew up surrounded by images in a family of avid amateur photographers, she only began photographing in 1977, when as an undergraduate at Harvard University, she borrowed money from her roommate to buy her first camera – a Nikkormat. Her foray into the world of photography was largely self-taught; the photographer she most admired and still does was Henri Cartier Bresson. His love of geometry and the decisive moment found an echo in her black and white work, and she reveals a similar unerring instinct for capturing the usually unseen.</p> <p class="Pa0">In 1982 she met photographer Raghubir Singh, who saw amongst her eclectic collection of photographs the subject that had been staring her in the face, but that she had failed to see: a photographic study of the community to which she belonged. What had begun as a nostalgic and personal journey then grew into a more objective project that encompassed a world larger than her immediate family. Encouraged by Singh, a maestro of colour photography, she began to shoot in colour.</p> <p class="Pa0">Whilst her book documented the Parsi community in all its aspects, the exhibition claims no such responsibility; it is a journey through a photographer’s eye, of images that will continually draw you in, revealing a depth that brings something new to the viewer each time.</p> <p class="Pa0">Sooni Taraporevala, award-winning screenwriter <em>(Salaam Bombay! Mississippi Masala, Such A Long Journey, The Namesake) </em>and filmmaker <em>(Little Zizou) </em>was first a photographer. She is the author of a book of photographs <em>PARSIS A Photographic Journey (2000, 2004). </em>Photographs from <em>PARSIS </em>were included in Tate Modern’s <em>Century City: Art and Culture in the Modern Metropolis, </em>London 2001, <em>Lille 3000, </em>France 2006, <em>India Moderna </em>at the Institut Valencia d’Art Modern, Spain 2008, <em>Photoquai, </em>Musee de Quai Branly, Paris 2009. She was honoured with a solo show at Harvard University’s Sert Gallery in Cambridge USA, October 2012.</p> <p class="Default"> </p> <p></p> Wed, 10 Apr 2013 23:26:03 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list - Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly Prince of Wales Museum of Western India) - March 10th, 2013 - March 17th, 2013 <p>Welcome to the sixth edition of The Baroda March.</p> <p>Fifty-five artists from Baroda will be represented at the exhibition with 150 works (paintings, sculpture &amp; woodcuts).</p> Fri, 08 Mar 2013 01:41:03 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Group Show - Clark House (Bombay) - March 13th, 2013 - March 30th, 2013 <p>'Jinnah plotting Partition' is a decoupage comprising cut-out portraits based on photographs of Mahatma Gandhi and Pandit Jawaharlal Nehru on a Nathdwara watercolour background depicting a garden and a stately home in Rajput architectural style. Mother India forms a triad with them, while cut-outs of Mohammed Ali Jinnah and others are shrunk in scale and placed near the fountain, seeming to conspire against a united India. The map of undivided British India includes present-day Burma, Pakistan and Bangladesh and a Mother India emerges from a third eye, carrying the Indian Flag. The medium and the method used was popular during the 1940s in India and we attribute it to Nathdwara, where miniature painters would copy perspectives borrowed from Western academic painting, using photographic references for landscapes that would then be populated by decoupaged images of gods</p> <p>The exhibition from the Clark House curatorial archive gives credence to a trajectory of art historical scholarship, from Partha Mitter to Jyotindra Jain and Tapati Guha-Thakurta, who subtly interpreted the collapse of visual iconographies of nationalism, fundamentalism, and religious pantheons. The exhibition plays with the chronologies of mediums gaining popularity in India, as put forward by writers like Girish Shahane, from the hand-painted photograph to paintings inspired by photo-journalism, and anachronistically, later by the European Renaissance. The exhibition is also a careful look at a mixture of styles within works: where hunted deer, or fighter planes stylistically differ from the pastoral landscapes that surround them. Toying with calibrations of what has been previously debated, the exhibition adds new iconographies into the fray, from lesser known contemporaries of the better known studios.</p> Fri, 15 Mar 2013 01:13:58 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Karen Kraven - Clark House (Bombay) - March 13th, 2013 - March 30th, 2013 <p>'The Moons of Jupiter' is a series of photographs of fruit, arranged like the waxing and waning of Jupiter's moons. The title of this work with a mango is 'Thebe', the moon discovered by the Voyager shuttle in March 1979. The mango is a signifier of life, as well as a unit of export and economy. By using the mango to create a kind of calendar, the artist explores the relationship between fantasy, economy, and the famous paraphrase by Zizek at Occupy Wall Street in 2011 - 'It is easier to imagine the end of the world, than to imagine the end of capitalism'. 'Symphonies of the Planets' is a sound installation comprising three audio tracks from the Voyager shuttle recordings made in the seventies of the magnetospheres of the planets, turned into sound frequencies. The three audio tracks play simultaneously, creating a fantasy re-mix of the noise footprint that massive planets make as they orbit the sun. </p> Fri, 15 Mar 2013 01:18:27 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Astha Butail, Asim Waqif, indersalim, Shuddhabrata Sengupta, saba hasan - Devi Art Foundation - August 18th, 2012 - April 15th, 2013 <p><b>Sarai Reader 09</b> is a nine month exhibition that will unfold as a process generative of visions, concepts, speculations and projections which, in turn, make room for heresy, for new modalities of being, for exchanges, relays and interferences. The exhibition will posit a situation of shifting co­-inhabitation in a space by many agents and actors, in diverse, multiple, conjoined and contradictory ways. It intends to investigate the nature of theensation of thinking, and its resonating extensions into the myriad worlds that we inhabit and invent.  <br /><br />Sarai Reader 09 will gather works incrementally over the nine months. Artists, researchers, scholars, curators, critics, filmmakers, writers, performers, dancers,musicians, magicians, activists, scientists, photographers, archivists, architects, poets, journalists, and more, are invited to make proposals that can be timed for specific durations. The exhibition space will keep transforming.  <br /><br />Sarai Reader 09 opens at 6:30 PM on 18 August 2012, with:  <br /><br />Architectural interventions in the space of Devi Art Foundation, with <b>Sayantan Maitra Boka</b> and <b>Zuleikha Chowdhary</b>. These interventions are to create an “empty space”, and so, to open it to multiple readings and transformations by participating artists over the nine months of the exhibition. <br /><br />A proposal room, where proposals by artists for works in the exhibition, invited through an open call, will be available for reading. At the opening, there will be proposals by 40 artists for works that will commence after the opening. These will grow to over 100 proposals over the nine months. <br /><br />A 1:1 architectural prototype (3x6x9 m) of the Cybermohalla Hub, by <b>Nikolaus Hirsch and Michel Müller</b>, in collaboration with <b>Cybermohalla Ensemble</b>, Sarai­-CSDS, Ankur: Society for Alternatives in Education; with Engelessman Peters Engineers, Akademie der Bildenden Künste Stuttgart, Daniel Dolder, Ana Farfan, Snehal Gada, Sayantan Maitra ‘Boka’, Steffen Sendelbach and Omar Siddique. The question of infrastructures for creative   and intellectual life emerged in 2006 in Cybermohalla, a dense conversational milieu that has formed in Delhi over a decade (2001 onwards), and a project of Sarai­-CSDS and Ankur. In 2007, Nikolaus Hirsch and Michel Müller were  invited into this conversation. A design of the Hub was proposed by them through conversations with Cybermohalla, and the first prototype was created  in “The Rest of Now”, part of Manifesta 7, co­curated by Raqs Media Collective, Bolzano, 2008. It was then hosted by Thyssen-­Bornemisza Art Contemporary (T-­BA 21), Vienna, for one year. In 2011, a prototype of the Hub was made at the Louisiana Museum, Copenhagen, as part of 'Living Frontiers of Architecture III-­IV'. Sarai Reader 09 brings the most ambitious iteration of the Hub to Delhi.  <br /><br />Release of the book ‘Cybermohalla Hub’, edited by Nikolaus Hirsch and <b>Shveta Sarda</b> (Sarai­-CSDS, Delhi, and Sternberg, Berlin/NY, 2012). This book is a reflection on urbanism, architecture, writing and time by Cybermohalla Ensemble and Nikolaus Hirsch/Michel Müller, with contributions by Hu Fang, Naeem Mohaiemen, Hans Ulrich Obrist, Jacques Rancière, Raqs Media Collective, Superflex, Graham Harwood, Ivana Franke, Amitabh Kumar, Aman   Sethi, Bhrigupati Singh, Can Altay, Nina Montman, Solomon Benjamin, Martand Khosla, Rana Dasgupta, Sharmistha Mohanty, Christoph Schäfer, Prasad Shetty, Ravi Sundaram, Rupali Gupte, Daniela Zyman, Lawrence Liang,   Zak Kyes, Vahni Capildeo, Matthew Fuller, Vivek Narayanan, Mathias Görlich, Nico Docx, Helena Sidiropoulos and Michel van Beirendonck.  <br /><br />Release of the book ‘P.T.O’, an appreciation of the listening, walking, reading, interviewing, collecting, questioning, mapping, recording, drawing, image-­making and writing done by the hundreds of Independent Fellows associated with Sarai over the last decade. The works by the Fellows have been publicly archived through postings in the Sarai Reader­-List and in the Sarai archive (in­-house at Sarai-­CSDS). P.T.O. is an edited, highlighted and re­sequenced version of these works, to bring alive the various dimensions and modalities of thinking and making. Edited by Shveta Sarda (Sarai-­CSDS, 2012) <br /><br />A talk by the curators, Raqs Media Collective, introducing the exhibition.  <br /><br />An evening of experimental sounds and electro­acoustic music featuring Ish Shehrawat (edgeCut | diFfuSed beats | Sound Reasons), Andi Teichmann (Teichmann Brothers), Brian Citro and Ignat Karmalito. <br /><br />Release of ‘The diFfuSed beats (diF) Audio CD’, synthesised out of sounds, noises and field recordings from New Delhi, Munich, Zurich and around the world (Sound Reason banner). diFfuSed beats is the duo comprising Konrad   Bayer and Ish Shehrawat as they engage with sound with both philosophical and de­constructive aesthetics. <br /><br />The exhibition will be punctuated through “episodes” – points of focus and dispersal – where processes that have been undertaken by artists will gather impetus and open out across concentrated moments of public attention. Each episode will be a day­long public event, with workshops, performances, talks, discussions, special screenings and music. <br /><br />Episode One: 13th October, 2012<br />Episode Two: 15th December, 2012<br />Episode Three: 3rd February, 2013 <br /><br />The exhibition takes its name from the Sarai Reader book series, which have been widely recognised as a site of critical and creative thinking. The making of the book ‘Sarai Reader 09 (Projections)’, will accompany the exhibition.</p> Thu, 25 Jul 2013 15:56:02 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Hema Upadhyay, Sakshi Gupta, Srinivasa Prasad, Atul Bhalla, Gigi Scaria, Reena Saini Kallat, Alwar Balasubramaniam - Dr. Bhau Daji Lad Museum - March 2nd, 2013 - May 15th, 2013 <p>The Museum is partnering with <strong>ZegnArt Public</strong>, an arm of the Ermenegildo Zegna Group that works within the contemporary cultural arena, on an exciting new project which spotlights <strong>dialogue on the nature of public space, and the role of art in that space</strong>. <br /><br /> The concept of Public Space can be construed in a variety of ways; it can be a platform for negotiation and debate or as a site of resistance and dialectics. The mission of <strong>ZegnArt Public</strong> is to explore these interpretations within varied social and cultural contexts. <strong>Mumbai is the first city selected for the ZegnArt Public project</strong>. The collaboration with the Museum was developed on the basis of <strong>a shared vision of art as a defining factor to build awareness in the community</strong>. <br /><br /> Artist <strong>Reena Kallat</strong> has been selected by the project jury as the winner of the first edition of ZegnArt Public to conceptualize and create the public artwork. The work highlights the relationship between public space and the city's history, both from a formal point of view, as the work will be exhibited on the main facade of the museum, and in terms of content through an exploration of street names exploring colonial and post colonial tensions in the city. <br /><br /> The other submissions by artists <strong>Alwar Balasubramaniam</strong>, <strong>Atul Bhalla</strong>, <strong>Gigi Scaria</strong>, <strong>Hema Upadhyay</strong>, <strong>Sakshi Gupta</strong> and <strong>Srinivasa Prasad</strong> will be on display at the Museum’s Special Project Space (SPS). This exhibition will offer a comprehensive view of the proposals made by some the best young Indian artists today and will expand the dialogue on the role of art in the public space.</p> <p></p> <p>(Source: e-Newsletter of Dr. Bhau Daji Lad Museum Issue Jan - March 2013)</p> Sat, 20 Apr 2013 22:22:49 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Nadia Kaabi-Linke - EXPERIMENTER - March 12th, 2013 - May 3rd, 2013 <p><span style="font-family: helvetica; font-size: small;"><i>No One Harms Me...</i> a solo by Tunisian born, Berlin based artist, Nadia Kaabi-Linke opens on March 12, 2013.</span><o:p></o:p></p> <p><span style="font-family: helvetica; font-size: small;">Her work  is extremely diverse, straddling sculpture, painting, printmaking and installation. Kaabi Linke (b 1978) has been widely exhibited including  MoMA, NY, Nam Jun Paik Center, Seoul, (Both 2013), Herbert F Johnson Museum &amp; Liverpool Biennial (both 2012). She was awarded the Abraaj Capital Art Prize in 2011.</span><o:p></o:p></p> <p><span style="font-family: helvetica; font-size: small;">This exhibition comes at an important time in her career and the show features some of important works that engage the viewer at multiple levels. </span><o:p></o:p></p> Tue, 19 Mar 2013 15:25:12 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Rajesh Rana, Vijayata Bhamri, Manisha Parekh, Manoj Bhramar, Medha Sharma, sanjeev verma, Sidharth, Stanley Suresh, Ramananda Bandopadhyay - Gallerie Alternatives - March 14th, 2013 - April 15th, 2013 <p>Gallerie Alternatives presents a group exhibition of paintings, drawings, graphic prints &amp; sculptures by Manisha Parekh, Manoj Bhramar, Medha Sharma, Sanjeev Verma, Sidharth, Stanley Suresh, Ramananda Bandopadhyay, Rajesh Rana, Vijayata Bhamri &amp; many more 14th March-15th April 2013</p> Wed, 20 Mar 2013 22:32:06 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list NEELKANT CHOUDHARY - Gallerie Ganesha - March 7th, 2013 - April 8th, 2013 <p style="text-align: justify;">Shobha Bhatia, Director, Gallerie Ganesha presents a solo show of Madhubani paintings, albeit with a modern, contemporary touch,<b> </b>by artist Neelkant Choudhary<b> </b>at Gallerie Ganesha, E-557, Greater Kailash II, New Delhi-48 from March 7, 2013 till April 5, 2013. Phone @ 29226043, 29217306.</p> <p style="text-align: justify;">Although Neelkant remains loyal to the traditional Madhubani templates, he has innovated with icons and figures in a manner no contemporary painter has. His motifs are traditional as well as modern - from depictions of Durga and Kali to charwomen and village children walking to school. He brings to Madhubani art the freshness of his keen eye and his courage to experiment and innovate.</p> <p style="text-align: justify;"><b>Says Shobha Bhatia</b>, Director, Gallerie Ganesha: “The sheer variety of Neelkant’s Madhubani is staggering. He belongs to the <st1:place><st1:placename>Madhubani</st1:placename> <st1:placetype>School</st1:placetype></st1:place> but is a bold individualist in his work. Madhubani painting is the traditional art form or a ritual community art of the Mithila region of <st1:place>North Bihar</st1:place>. Deeply rooted in Mithila’s folk culture, Madhubani painting has been traditionally done by women to decorate their home walls for festivals and occasions like weddings. It relies heavily on icons of Hindu mythology and figures from the nature. Madhubani's unique features are its uni-dimensional depictions, its intricate sketch work and its brilliant colour schemes.”</p> <div> <p style="text-align: justify;">According to Neelkant Choudhary, “The fine lines of my works have been pulled from the deep and long tradition of the Mithila-Madhubani art form and married to modern metaphors under delicate ministering. Over the years, though, Madhubani has broken bounds, adopted new manifestations and expanded its constituency. My works mark a departure not merely of newly and widely imagined themes. I have also brought to the form an entirely new idiom of tone and tenor. Monotones and pastels, for instance, have rarely been infused into the Madhubani art form. Neither have human figures which, in my eyes, become a fascinating fusion of race and geography. This is an entirely novel line of work from my varied portfolio. It has always been a passion for me to work with fine lines very similar to the tradition of miniature paintings. Working with lines in the minutest details and trying to give expressions to the characters’ in these paintings, and also changing this traditional painting from very flat to a three dimensional and perspective effect has been like a great journey. As an artist with a traditional background it was very difficult and also very interesting to break away from the traditional to modern figures and subjects while also trying to work on the traditional lines so as to maintain the familiarity with the traditional paintings.”</p> <p style="text-align: justify;">Neelkant Choudhary, born in 1962 in Bihar, did his BFA from <st1:placetype>University</st1:placetype> of <st1:placename>Punjab</st1:placename>, <st1:city><st1:place>Chandigarh</st1:place></st1:city>. He has worked on a project to trace the roots of Madhubani and examining its contemporary state and relevance.</p> </div> Thu, 14 Mar 2013 06:26:48 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list Satish Gupta - Gallery Art and Soul - March 9th, 2013 - March 20th, 2013 <p>Creation is time independent, transcending eternity. <br /> <br /> Creation is not static, nor permanent..rather an endless dynamic process. <br /> <br /> There are three main conceptual elements in this collection of my works in TRANSCENDING ETERNITY: <br /> Vishnu, Shiva and Devi which together formulate into Brahman or The Ultimate Reality.<br /> <br /> Vishnu represents the Supernova, ever expanding with energy flowing out, while Shiva represents the Black Hole at the centre of the galaxy absorbing the constant flow, contracting and coalescing till it itself evaporates and finally, bursting into a Supernova spewing out tremendous energy again.<br /> <br /> This dynamic energy of Vishnu, Shiva and Brahman manifests itself as the Shaktis of the three goddesses -Laxmi, Durga and Saraswati or collectively as the Devi.<br /> <br /> Time and space are not linear...the past, the present and the future are all contained in this moment - the Eternal Now. <br /> The understanding of this principal of Vedic science was the point of departure and set the trajectory for the works in TRANSCENDING ETERNITY.<br /> <br /> I just have to shut my eyes to be with the first Homo-Sapiens in the damp and dark caves of Lascaux holding a flickering oil lamp and assist them in creating the first pieces of "Art" in an altered state of consciousness or be with the sculptors of pharaohs, carving them gazing into eternity as I disembark my boat on the Nile.<br /> I can be in Byzantium making gilded mosaics of the Lord, admire the perfection of the Parthenon or travel back to the creation of Angkor, make my way up the lybrinthic steps past the Virochana Buddhas enclosed in hundreds of stupas and reach the summit of Borabodur to experience divine emptiness or rake sand at the Zen gardens of Ryonji.<br /> <br /> I can hear the sound of the chisels on stone of 1200 shilpkars creating the erotic walls of Konarak paying homage to the Sun god. I can be with Michelangelo as he gives life to God's finger,with Picasso as he is putting his revolutionary strokes on Guernica or be with Monet contemplating the Nymphaeas at the ponds of Giverny.<br /> <br /> Best of all- and it sends a shiver down my spine when I think of it- I reconnect with the Chola bronze makers. I see myself carrying this living tradition forward to another level by breaking the rigid rules and dogmas, to create afresh with renewed vigour, a fresh technique and vision while preserving their essence. Being comfortable with the analytical and the spiritual worlds of the West and the East and their approaches to art, I like to abandon both at the time of creation and to be just myself in order to make art that uplifts and reaches the secret, silent space of the heart.<br /> <br /> The other major breakthrough in my present works is the merging of the second and the third dimension, the flat and the round. This progression happened naturally and effortlessly. There was a Wow moment when this came about and thereafter it just flowed. My world is constantly merging and becoming one,I am doing away with dualities because I see no difference between sculpture and painting, ultimately it is the creative act that counts. I call these creations Sculpturepaintings as one word, not hyphenated, because life, time, space, eternity.. are ONE.</p> Tue, 05 Mar 2013 06:46:34 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list V Ramesh - Gallery Threshold - March 7th, 2013 - April 4th, 2013 <p>"Sanctum Sanctorum: a corner for four sisters", explores the works of four poets/saints, Karaikkal Amma (5th century AD), Andal (5th – 9th century AD), Akka Mahadevi (12th century AD) and Lal Ded (14th century AD), known for the intensity of their devotional feeling, and loss of illusion.</p> <p>In a suite of seventeen larger-than-life canvases arranged in an enclosed space, I share my own musings over divinity, mortality and corporality. The interface evokes an experience which is as immersive as their poetry for it alters the viewing distance from which the canvas is normally seen; it confines the audience by surrounding them with monumental images viewed from close up.</p> <p>-- V Ramesh</p> Wed, 06 Mar 2013 22:58:21 +0000 http://www.artslant.com/ind/Events/list http://www.artslant.com/ind/Events/list