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India

Shridharani Gallery

Exhibition Detail
Visual Polyphony 2
N-205, Triveni Kala Sangam
Connaught Place
110001 New Delhi
IL
India


March 19th, 2013 - March 28th, 2013
 
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© Courtesy of the Shridharani Gallery
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Polyphony is music with two or more independent melodic parts sounded together. This exhibition showcases works of artists, independent from each other, juxtaposed to create harmony. One can call it a Visual Polyphony.

Amongst the participating artists, a few prominent ones areAshok Bhowmick, Charan Sharma, M F Husain, Milburn Cherian, Ramesh Gorjala, RiniDhumal, Samir Mondal, SatishGujral, Surya Prakash, ThotaVaikuntam, Vijender Sharma, VrindavanSolanki and Yusuf Arakkal.    The young and promising artists are AmitBhar, AsifHossain, Asit Kumar Patnaik, Douglas John, H R Das, JayshreeGoradia, KalipadaPurkait, Karuppiah A., Kishore Purekar, Mahendra Singh Solanki, MrityunjayMondal, Nawal Kishore, Neena Singh, NiranjanJonnalagadda, Om Swami, PankujParashar, RachanaNagarkar, Rama Suresh, Rooshika Patel, SharanuAlloli and YashwantDeshmukh. And lastly we have included foreign artists propular with their prints, etching, lithographs which are A. W. Phillips, Balthazar Solvyns, Capt. G. P. Thomas, Capt. R. M. Grindlay, Charles Ramus Forrest, Henry Salt, Thomas & William Daniell, William Simpson among others.

Mrs. PherozaJ.Godrej, founder and architect of Cymroza Art Gallery, this cultural landmark in the city of Mumbai, says modern and contemporary Indian art has witnessed many desirable developments. As the nation has transformed itself over the last 20 years, so have our cultural aspirations.  The younger generations of artists are taking powerful and adventurous steps as they evolve in the context of a global world.  Very often it has been asked, “What is Indian about contemporary Indian art?”   The appropriate response would be that, “in the past 100 years, art has had no nationality hence, it has no boundary”.

41 years in the life of an institution unravels many events during its journey.  Cymroza Art Gallery, established in 1971, continues to attract artists from all over the nation and on several occasions, artists from the Indian diaspora have responded whole-heartedly in exhibitions and other events such as symposiums, seminars and even film screenings. Birth of the gallery was not by accident and in today’s times, one can even mention not a commercial motivation. It was truly a desire, passionately pursued to fulfil a dream.  A dream dreamt not by one individual, but by many others in the profession.

In the 1960s and 1970s Mumbai, erstwhile Bombay, was a very different city in which the art market was evolving. Then over many hours of discussion with veterans who, unfortunately, are no longer with us today, such as JehangirSabavala, B. Prabha, PillooPochkhanawala, NarenPanchal,  K.H.Ara, AdiDavierwalla,including many who are still with us,  the die was cast and a dream started to materialise in the form of the Cymroza Art Gallery.  Those were tough times but, nonetheless, exciting times.  As always, finances were limited and ideas were a-plenty, but one thing was never lacking; the support of the art community and indeed, as the years have gone by, the citizens of Mumbai and even those living outside the metropolis.

Ranjit Hoskote, art writer and critic, notes that the Cymroza Art Gallery was born at a crucial juncture in the cultural history of late 20th-century Bombay. When this fresh initiative opened its doors to the city’s art-viewing public in October 1971, the demand of artists for exhibition space had already exceeded the capacity of Bombay’s only public gallery, the Jehangir Art Gallery. Meanwhile, the programming cycles of the city’s major private galleries, the Pundole Art Gallery and Gallery Chemould, had already taken definite shape around the works of specific artists. An institutional vacuum had also been left behind by the operational cessation of the Bhulabhai Institute on Warden Road, which had been governed by Soli Batliwalla and Madhuriben Desai, and had served as a versatile and experimental space for art. To Cymroza's young founder, it was the deficits of urban cultural infrastructure that were most urgent and immediate, and it was self-evident to her that they would have to be met. Pheroza Shroff (who would become Pheroza Godrej on her marriage to Jamshyd Godrej in 1978) addressed the issue with her characteristic decisiveness and dispatch. If no gallery could offer space, she would open a gallery. If the Bhulabhai Institute has passed into history, she would resurrect some of its core features in new premises.

Thus, while Cymroza functions today as a private gallery, it was originally conceived as what we would today describe as a cultural space: a platform where artists, musicians, writers, film-makers and other individuals engaged in cultural practices could convene, discuss and present their work. As Cymroza completes forty-one, the Indian art world finds itself on the far side of the unprecedented boom of 2005-2008 and the unforgiving slump that followed the global financial meltdown of 2008. The key question that the art world must address at this date is not how to resurrect the glories of the boom, for this is impossible, but rather, how to restore value.

For over 41 years, while continuing to be a centre   of activity for artists, connoisseurs of art, art-lovers, and the public, the promoters of the Cymroza see beyond art; their vision encompassing the study of the continuing development of Art as a subject influenced by culture, tradition and circumstances and providing a platform to artists to exhibit their artworks, be it paintings, photography, sculptures, prints or ceramics.

Established in 2010, Gallery Artequest's vision is to promote talented upcoming artists of India, through innovative and meaningful exhibitions and art fairs across the globe, providing artists a platform to launch and move forward in their career and to exhibit along with some of the renowned masters of today.  Through the online portal www.artequest.com, a wide range of artworks are made available to collectors who are both looking at acquiring good art and at investing. Even though it has been a brief journey since its inception, this online gallery already has a couple of good exhibitions and art camps to its credit and is looking forward to its upcoming shows in Delhi, Bangalore, Dubai and Singapore.

Art historian and entrepreneur, Dilnavaz Mehta’s personal interest in old books and ancient history, culminated into Rare Finds – Hindoostan Revisited.   With a post graduate Diploma in Indian aesthetics with a specialization in artworks and the history of India during the period of the sixteenth to nineteenth century, Dilnavaz strove to create a niche with a professional touch in a market which was predominantly operated by untrained individuals.

Rare Finds is a unique outlet for antiquarian maps and books related to India (or Hindoostan), whereas Hindoostan Revisited  is an outlet for antiquarian lithographs, etchings, engravings, aquatints, watercolours and prints related to India or Hindoostan. Dilnavaz’s extensive research and study of antiquarian books, maps, prints, paintings and  drawings published in and on India, and her experience in this field makes Rare Finds – Hindoostan Revisited a reliable source for old and rare books, maps and prints on India.

Through Rare Finds – Hindoostan Revisited, Dilnavaz endeavours to provide good quality genuine pieces of antiquarian maps, books and prints at affordable prices.  The customer is spoilt for choice; and utmost importance is given to customer satisfaction.To increase awareness about rare, fascinating and historically relevant books, maps and prints, Dilnavaz curates regular exhibitions under the name of Rare Finds – Hindoostan Revisited.

This harmonious amalgamation of paintings, sculptures, etchings, lithogrpahs and prints by artists from around the world would be a long awaited visual treat for all the art connoisseurs.


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