Showing posts with label Indian Art. Show all posts
Showing posts with label Indian Art. Show all posts

22 Nov 2022

Reminiscences by Bharathi S

Recollections: Traveling Through Time

Bangalore based artist Bharathi S. revisits her childhood through paintings that wistfully capture joie de vivre, of carefree days, gone by. The paintings in the new series, ‘Reminiscences’ evoke flashes of vivid memory, of youthful days and simpler times. The kaleidoscopic images depict a fervent memoire tinged with nostalgia and innocence, and of those past moments that were uncluttered and unencumbered from the urgency and stresses of urban life. The works are suggestive of the rich fragrance of imagination and the joy of untroubled days, where time was slower, and perhaps it even stood still, more so, in small towns and villages, where Bharathi grew up.

Her works are akin to photographic film negatives, albeit in color, where masses and forms coalesce and blur, in effortless motion. The colors, as patches of pigments, take shape from a distance, and dissolve once again on approaching closer. Most of the larger paintings have figures of children either playing or watching adults complete household chores – there is an inherent exuberance and dynamism with a heightened sense of motion that is evident. A safe, secluded world is quietly tangible.

An avid traveler, she has been fascinated by clouds – their patterns and how they shift form, disperse, and re-form at times to acquire newer shapes and outlines. Their temporal nature and their transitions, have impacted her perception, in her observations of life and events and their fleeting characteristics. This in turn has inspired the small format paintings, which rely on abstraction as a tool to convey the thematic subjects as they shift forms amidst the colors, and which reemphasize the subtleties of movement and transitions.

Nalini S Malaviya

Art Critic

- Excerpt from the catalogue essay


'Reminiscences' by Bharathi S. continues till Nov 27, at Karnataka Chitrakala Parishath, Bangalore

 

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6 Oct 2022

Technology In Museums


Technology can effectively bridge the gap between museums and younger audiences to create seamless experiences that imitate ordinary interactions by adapting and enhancing the same tools that the younger generation uses on a regular basis



In the past two years, it has become increasingly evident that technology plays a very important role in the museum experience. It allows enthusiasts and admirers to stay connected with the world of history and art, whether physically or virtually.

Technology can help bridge the gap between museums and the younger generation since their lives are constantly influenced by the digital world. Museums can create seamless experiences that imitate ordinary interactions by adapting and enhancing the same tools that the younger generation uses on a regular basis. Along the same lines, technology allows museums to boost audience participation by using gadgets that are already in use.

Holographic table at MAP , Image provided by MAP for Art Scene India
Holographic table at MAP 

Technology also helps museums bring to life their ideas and the creative ways in which they wish to engage the audience. For example, the Museum of Art & Photography (MAP), one of the first private art and photography museums in Bengaluru, collaborated with BrandMusiq to give the brand a distinct sonic identity through its MOGO or ‘musical logo’. MAP’s sonic identity is inspired by the aim to bridge the gap between the past and the present, the classical and the modern, and the conventional and the contemporary.

These tools make art and history more accessible while making the museum more accessible to people with disabilities such as hearing loss, vision impairment, Alzheimer's disease, and Autism Spectrum Disorder.

MAP’s involvement in the confluence of art and technology makes for a refreshing change. MAP and Accenture Labs collaborated to create India’s first conversational digital persona in M.F. Husain. The viewers can interact with the artists with questions on his early life, career and family. The usage of speech synthesis software and extensive research on the artist makes for an engaging interaction. 

Husain’s holographic avatar, as part of MAP’s collaboration with Accenture India, Image provided by MAP for Art Scene India
Husain’s holographic avatar, as part of MAP’s collaboration with Accenture India

The virality of different kinds of technology and their reception by the masses help museums understand the kind of devices to use and how they can be made increasingly accessible to the audience. Haptic interfaces, iPads, touch screens, and live screenings are a few such tools that engage the audience and help museums reach out to them virtually without losing their interest.

Kalamkari Prayer Mat, 1850s, Cotton, natural dyes, Machilipatnam, Andhra Pradesh, India, TXT.0021, Image provided by MAP for Art Scene India
Kalamkari Prayer Mat, 1850s, Cotton, natural dyes,
Machilipatnam, Andhra Pradesh, India, TXT.0021

In another instance of a technology-focused initiative, MAP Academy, the educational vertical of MAP Bengaluru, collaborated with Microsoft to develop the platform INTERWOVEN as a part of Microsoft’s AI for Cultural Heritage initiative. This project is rooted in developing the digital recreation of the histories of South Asia through textiles, making it more accessible and inclusive for a global audience. Viewers sitting anywhere in the world can find connections between artworks and textiles, cultures and histories through this platform. And that really is the magic of integrating the use of technology in the arts and museums. It allows for a wider and more inclusive reach, as well as a greater participation by young audiences; it allows the museum to become an institution of the future. 

Technology can be a great tool for expanding audiences and driving engagement, however it must be used strategically. It’s more about determining what service(s) they are providing, who it will serve, and how the audience will benefit from the experience rather than adopting technology for the sake of incorporating technology.





Guest Post

2 Mar 2022

Cut Pieces by KP Reji at The Guild

The Guild presents “Cut Pieces”, a much awaited solo exhibition of recent works by Baroda based artist K. P. Reji at The Guild, Alibaug. 


K. P. Reji at The Guild, Art Scene India
The show is the first presentation in the silver jubilee year of the gallery. Reji’s works are known for their witty take on the state machinery and its multiple modes of ordering of lives of people. In this recent body of works he takes a new direction in exploring this. The meticulously constructed canvases offer a newer language, and furthermore, newer narratives in his repertoire. “K.P. Reji’s oeuvre, marked by its frontal narrative overtures and enigmatic subterranean, political sites, propels us to think about the need to define beauty in a new ontological setting. This drive is evident in his move, on the one hand, towards an allegorical mode of narratology, and a counter-move to suspend the narratorial through the ‘decoratively-real’ exteriors and interiors, on the other. In an intriguing manner, many of his works present themselves to us as allegories on practices, and works of art; as an artistic rumination on representational dilemmas of narrative idioms. 
K. P. Reji at The Guild, Art Scene India
These representational dilemmas stem from an artistic contemplation and reasoning regarding the nature of the political in the discursive universe of what can be broadly called aesthetical practices. Reji’s artistic propositions often remind us, in a Freudian analytical way, that the experience of beauty is bound up with, or is a form of mourning; it is a life-affirming act even though what one is dealing with is the most abominable. His works can be read perhaps as a pharmakon, which ex-poses the melancholies of our time; or better put, in-stances inertias that cloud our thinking and action. In a way, it presences the element of the violence of the sublime—at times, through the fracturing and fragmenting (and tearing) of form, materiality, proportion, and even composition, for the sake of the aesthetic encounter. The constant reinvention of unforeseen potentials of the affective fields of percepts and language Enables this body of work by Reji to enact the redistribution of the sensible, and thereby, open up newer possibilities of the political and the aesthetical. 

In the overall schema of this exhibition, both the phenomenology and politics of perception are evoked through the spectral presence of multiple acts of blinding. It seems that the coming together of these works proposes that only in blinding perception can the claims of colour and line be restituted, and with them, finally, the authority of the fragile and harassed human body.” – Excerpt from “Beauty as Pharmakon”, essay by Dr. Santhosh S

The exhibition continues till April 5, 2022

12 Aug 2021

Colours of the Land

The Fragrance of Rain Inspires Artist Ganesh Doddamani 


Inspired by petrichor, artist Ganesh Doddamani presents his recent works, a series of paintings which capture the fragrance and essence of places, at MKF Museum, Bangalore.  

Painting by Ganesh Doddamani, Art Scene India
He explains, “Over the past few years or so, my work has naturally and gradually drifted towards abstraction and a distinctive method of compressing the rich color and form of my environment into complex landscape paintings that imbue material reality with a deep sense of place. I combine color making techniques with the vernacular, in a bid to arrive at an idiom that is entirely contemporary.” 

Fields of colours reflect patterns and textures of the land. In this exhibition Doddamani waxes eloquent about the smell of rain, the first shower which soaks the earth and has a beautiful and distinctive fragrance. The heady smell that engulfs us when the parched land soaks up the first few drops of rain. The mist encases the landscape forming a veil that is poetic and romanticizes the atmosphere.

"I have been living and working in Bangalore from past 11 years, but my impulse to paint grew naturally out of my childhood. In my landscape concept, the very materials the painting is made of, connects it back to the land, since paint is essentially made from earth, from minerals," he elaborates.

Despite the abstract mode of representation, Doddamani ensures a deep sense of connect to his native land and landscape. The colours and textures are evocative and closely connected to a material reality that is very familiar to the artist. 

Painting by Ganesh Doddamani, Art Scene India
The Karnataka born artist Ganesh Doddamani showed interest in drawing at an early age, focusing mainly on the figurative form and also on the heritage of India. He later attended art classes while experimenting with colours during that period of time. 

Doddamani has completed his BFA with honours from the MMK College of Art, Gulbarga and an MFA from the prestigious Kala Bhavana- Visva-Bharati University in Shantiniketan. Over the years he has drifted towards abstraction and used a technique to enhance the bright and solid colours on the canvas.

There are 25 paintings in this exhibition and the artist will be donating 50% of the sale proceeds to support artists who have been affected by the pandemic and require financial assistance.


The exhibition continues till 29th Aug at MKF Museum, Lavelle Road, Bangalore.





31 Jul 2021

Art Bytes - Sparking Conversations Around Art

An ALL Bangalore Fine Arts Chapter initiative

By Jyoti C Singh Deo

The art scene in a Covid ridden world is bound to be on the back burner, or so it seems, but the art scene in a little pocket of Bangalore has been bubbling with activity. All Ladies League, better known as ALL was founded by Dr Harbeen Arora with the sole aim to connect women from various fields of life and to empower them. The onus lay upon pathfinders like Suchitra Kaul Misra, ALL Karnataka Chairperson and Nalini Malaviya, art consultant, curator and writer, who set up the Bangalore Fine Arts Chapter, three years ago. Nalini, with the support of the members of the group, has been instrumental in implementing several initiatives that connect artists and art connoisseurs.

Art Bytes - Sparking Conversations Around Art An ALL Bangalore Fine Arts Chapter initiative
ALL Bangalore Fine Arts Chapter Launch in September, 2018

In recent times, artists have been confined to their homes and this has been an ideal time for them to bring alive their canvases. ALL has been a perfect platform to showcase artworks by women artists. The fine arts Bangalore chapter has begun a series of Art Talks called ‘Art Bytes’ that showcases member artists from the city. The series delves into the works of artists and gives the audience an opportunity to interact with them.

Art Bytes - Sparking Conversations Around Art An ALL Bangalore Fine Arts Chapter initiative

The series of interaction began with Anjana Chandak, an artist, poet and performer, who is well known for her monologues, especially on Draupadi and Ahalya. Her artworks convey a rich spiritual side of her. Jyoti C Singh Deo, an artist, poet, writer and activist digs into her childhood days spent in the industrial town of Jamshedpur and coalfields of Jharkhand to create beautiful artworks. Her art depicts the apathy meted out to the labourers who work at the coalfields. G S Bhavani, an artist who is passionate about nature spoke about her works related to the conservation of River Cauvery. Her rock installations on the river bed and floral installations in natural environs are testimony of a heart that glows for the green world.

Art Bytes - Sparking Conversations Around Art An ALL Bangalore Fine Arts Chapter initiative
Next in line on Aug 2, are chapter vice-chair, Jyoti Gupta, a multidisciplinary artist working with mediums like acrylic, resin, inks and clay. These contribute to her sublime work with a unique style of art. Her work has been featured in several national and international events. And, Sharmila Aravind, who has actively engaged with art in its myriad forms - visual arts, directing documentaries, writing poetry, children's rhymes and singing. It has been an ongoing journey of self exploration and expression through multiple mediums.

Art Bytes is a journey that would be featuring more artists in the coming months.


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11 Mar 2020

Interview: Indian Art Market Has Potential


"Many important artists have long been overlooked, and are waiting to be properly recognised for their contribution to art history. We need to continue to further the global conversation around Indian art, ensuring that their work is measured and considered against the work of international artists, not only in a South Asian context," elaborates Manjari Sihare-Sutin, Head of Sale, Modern and Contemporary South Asian Art, New York in an exclusive e-mail interaction with Art Scene India


N10333, Lot 12, Vasudeo S. Gaitonde, Untitled, Art Scene India
Vasudeo S. Gaitonde, Untitled

Sotheby's upcoming annual auction on 16th March in New York, commemorates the 25th anniversary of Modern & Contemporary South Asian Art sales at Sotheby's. It will feature a selection of rare, never-before-seen works, with 95% of works emerging from private collections. 

Led by two 1960s paintings by pioneer Indian abstractionists Nasreen Mohamedi and Vasudeo S. Gaitonde, the auction also features an important work by Indian National Treasure artist Raja Ravi Varma; a selection of sculptures led by modernist works by Amarnath Sehgal and Adi Davierwalla; a curated selection on Neo-Tantra. including works by Biren De, G. R. Santosh and more; and a diverse selection of works from the Bengal School of Art as well as Modern and Contemporary art from Pakistan.




NM: How has last year been for Sotheby's in terms of modern and contemporary Indian art sales?

MSS: We are feeling optimistic. We are adding new clients into our fold, coming from India, the US, China, and more. We are also witnessing new artist records set in each sale.

Look closely at the results of our recent sale in Mumbai, and you’ll see that the sell-through rate was strong (and even a little higher than in our inaugural sale in 2018), and we saw a real depth of bidding; almost 60% of lots sold for prices over their high estimates.

Our sales in the summer in London last year saw particularly pleasing results of over £7.5 million - the highest sale total achieved for a sale of Modern & Contemporary South Asian Art at Sotheby’s London in a decade. The auction was led by Bhupen Khakhar’s landmark Two Men in Benares (1982) which established a new record for the artist at £2.54 million / $3.2 million (£450,000-600,000), more than doubling the previous auction record. There’s continued vitality in the market, and a promising future.

10333, Lot 48, Sayed Haider Raza, Prairie, Art Scene India
Sayed Haider Raza, Prairie,
NM: Given the economic conditions, what are your strategies to strengthen sales? And your future plans in India?

MSS: The Indian diaspora comprises one of the largest and geographically diverse populations, because of this geographical spread, there is an inherent stability in the Indian market which metaphorically we liken to a four legged stool with one leg in India and others in North America, Europe and Asia. It means that the market is not beholden to the economies or politics of one particular region in order to thrive.

When we are building our auctions, we look to source fresh to the market works which will to appeal to a wide range of collectors at all price points. For instance, our next sale in New York features a spectacular array of works with storied provenances - most fresh to the market or unseen for at least a generation. 95% of the sale is sourced from private collections. This is an opportunity for collectors to discover hidden gems - artworks which have never exhibited anywhere before but are being unveiled by Sotheby’s for the first time. The array of works have been selected to appeal to collectors of every stripe, with each work carefully chosen from the diverse corpus of South Asian Art created in the Twentieth Century. Estimates range from just $500 to $1,000,000.

Sotheby’s holds three dedicated sales of South Asian Art across the world each year, and special one-off auctions for exceptional single-owner collections, such as The Guy and Helen Barbier Family Collection which we offered in London in June and online sales such as the one in September last year.
N10333, Lot 31, Raja Ravi Varma, Untitled (Swami Vishwamitra in Meditation), Art Scene India
 Raja Ravi Varma, Untitled (Swami Vishwamitra in Meditation)
NM: Could you comment on the huge disparity in art prices of Indian and Western artists, what could be or needs to be done to narrow the gap?

MSS: There is still so much potential for the Indian art market. It is a relatively new Market - just 25 years old. Many important artists have long been overlooked, and are waiting to be properly recognised for their contribution to art history. We need to continue to further the global conversation around Indian art, ensuring that their work is measured and considered against the work of international artists, not only in a South Asian context.

All images courtesy Sotheby's

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4 Feb 2020

Interplay of Visual Contrasts


Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora
Painting by Vaman Pai
The ongoing exhibition of paintings by Vaman Pai and ceramics by Gomathi Suresh at Gallery Manora, explore abstract imagery through two diverse visual mediums. The show is curated by Giridhar Khasnis, who writes, “Involved in different mediums, they create works that are not fixed on any particular notion or theme but imagery that is free and open to interpretation. Silent yet evocative, their abstract constructs and formations are coloured with introspective tones and designs.”

Vaman is a Bangalore-based painter and sculptor, who is essentially self-taught. G S Shenoy, the late senior artist known for his abstracted landscapes had a large influence on his artistic vocabulary. Vaman has been painting landscapes for several years and in this series, his works display a natural fluidity and eloquence. There is an evident spontaneity in the rendering and an inclination to capture subtle atmospheric nuances. Inspired by nature, and the colour and vastness of the sky, he has employed a predominantly blue and white palette, experimenting adroitly with gentle patterns and textures.
Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora
Ceramic by Gomathi Suresh
Gomathi Suresh is a Sydney-based ceramist and art promoter, who has exhibited her works in several group shows and at the Ceramic Art School, Tafe Sydney where she completed her 2-year diploma in ceramic art. She is currently pursuing a 2-year advanced diploma in ceramic art.

In this series, which has been produced in response to Vaman’s paintings, her concern for environment, climate change and ecological sustainability form the underlying subtext. She explains, “My body of work for this exhibition is an immediate and gestural response to the painterly abstraction of Vaman Pai's works whilst maintaining the unique nature of my own making, use of surface treatment and three dimensionalities.” Her works often reference land forms and memories of landscapes from her travels around the world.
Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora
Gallery view of Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora

Adopting multiple techniques, ranging from the traditional to the more experimental, Gomathi has played with glazes and firing processes to achieve textures, patterns and compelling visual effects that emphasize colours and surface expanses. She says, “l have fired my works several times to achieve painterly, layered atmospheric depths, closely akin to watercolor effects on textured paper; deliberately exposing the marks of my making, just as a painter would with his brush strokes, creating abstract surfaces evoking perhaps the warmth of a sunrise, the mystery of a dark starry night, the glow of sunsets and or an icy bare landscape.”

The commonalities and contrasts explored in the exhibition form an interesting interplay of visual coherence through pluralities of materials and mediums, and artistic viewpoints.

The exhibition continues till Feb 20, 2020 at Gallery Manora

Gallery Manora
55,100 Ft Road Off,9th A Main, Indiranagar-1st Stage, Bengaluru 560038, INDIA.
www.gallerymanora.com


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All images are courtesy the gallery

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21 Jan 2020

Art News: Juxtaposed by Vaman Pai and Gomathi Suresh

Juxtaposed by Vaman Pai at Gallery Manora, Art Scene India

G  A   L   L   E   R   Y       M   A   N   O   R   A
J u x t a p o s e d
V A M A N   P A I   /   G O M A T H I   S U R E S H
C U R A T E D   B Y   G I R I D H A R   K H A S N I S
January 23 to February 20, 2020

GALLERY MANORA presents Juxtaposed, a two-person exhibition featuring a series of new paintings by Vaman Pai and recent ceramics by Gomathi Suresh. The show opens on Jan 23 (Thursday) and runs through Feb 20. 

Juxtaposed by Gomathi Suresh at Gallery Manora, Art Scene IndiaFor both Vaman and Gomathi, creation of art is intrinsically linked with intuition, imagination as well as life experiences. Involved in different mediums, they create works that are not fixed on any particular notion or theme but imagery that is free and open to interpretation. Silent yet evocative, their abstract constructs and formations are coloured with introspective tones and designs. Their common interest in grasping contrasting and complementary views of nature and human feelings manifest in their work. At a particular level, their works seem like mindscapes searching for an unknown idiom and ineffable beauty.

Juxtaposed by Vaman Pai at Gallery Manora, Art Scene India
Vaman’s dynamic work with free flowing forms and multi-coloured smatterings exposes his creative energy, fertile imagination and fearless approach to art making. Connecting the tangible with the abstract, his paintings seem to find life both in the fluctuating moods of vibrant spaces as well as the mysterious layers of darkness.

Gomathi’s ceramics with meandering shapes and gentle curves reveal a slow and studied process along with a personal and poetic handling of the delicate material. For this body of work, she has used organic hand-built and thrown forms in heavily grogged stoneware clay. One can see how by treating the surface of layered underglazes using multiple firing techniques, she has brought in both depth and texture to her intriguing works. 
Juxtaposed by Gomathi Suresh at Gallery Manora, Art Scene India
What appears central to both the artists is the natural response to the chosen mediums. There is also a craving to be part of the ‘give-and-take’ interplay of forms, ideas and actions. Most of all, it is interesting to see how the artists have inspired each other even while keeping their practices independent and non-intrusive on each other.

Juxtaposed opens on Jan 23 and runs through Feb 20, 2020 at Gallery Manora


Gallery Manora
55,100 Ft Road Off,9th A Main, Indiranagar-1st Stage, Bengaluru 560038, INDIA.
www.gallerymanora.com

*Excerpt from the press release
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All images are courtesy the gallery

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