Art Scene India

12 Dec 2014

Art in Interiors: Miniature Paintings in Home Décor

Traditional miniature paintings are exquisite and should be displayed in an uncluttered environment.

Miniature paintings, as the name suggests are small format artworks with innate historical and traditional linkages. In India, the miniature style of painting is believed to date back to the 16th century, although earlier accounts do exist. Miniatures are traditionally colourful, intricately executed and are typically done on various surfaces such as paper, wood, silk etc. Early works feature portraits, ceremonies, court and hunting scenes, stories from epics and mythology – different schools have their own peculiarities and styles. Some of the notable traditions of miniature painting in India are the Mughal, Rajasthani, Pahari and Deccani courts.

Traditional miniature painting 'Krishna and Radha' by Nihâl Chand, used under creative commons license, Art in Interiors, Art Scene India

This form of art is delightful and immensely collectable. Paintings which are old have a great vintage and antique value. Often rare and infrequently sold during auctions or private sales, the minute artworks are heavily prized for their delicately detailed work and their historicity.

Miniature paintings are exquisitely intricate and have such fine brushstroke that they need to be displayed on uncluttered walls with minimal mounts and frames so as not to distract from the wonderful stories that are being articulated in the images. From a home décor perspective, miniature art with its historical themes are ideally suitable for traditional and ethnic décors. The effect can be enhanced by displaying them in a cluster and highlighting them with suitable lighting. Grouping them according to theme, period and school which they belong, to build a narrative would work best to heighten the impact.

Mughal miniature painting from the Hamzanama series, used under creative commons license, Art in Interiors, Art Scene India

Their antique look and vintage appearance add much to their value and as long as they are in fairy good condition one need not tamper with them.

In case, one doesn’t have access to original miniature works, there are a few artists who can reproduce and also make their own small format paintings. These too can be grouped and put up as part of a traditional décor and displayed in a similar way. Corresponding antique furniture and other artifacts which complement such a décor scheme will be in harmony with traditional miniature art, as well.

This article was published in The Times of India-The Address recently.

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4 Dec 2014

Art News: Bhopal - A Silent Picture by Samar Jodha

Samar Jodha’s art installation is a grim reminder of the tragedy that continues to haunt Bhopal to this day.

December 2, 1984 is a date firmly etched in our minds. The Bhopal gas tragedy remains the largest industrial disaster in the world, when 42 tons of the deadly methyl isocyanate leaked from the Union Carbide plant poisoning more than half a million people and taking 30,000 lives.

Today, 30 years later the lethal gas continues to maim and kill, even as victims wait endlessly for justice and compensation. With the recent death of Warren M. Anderson, the chief executive officer of the UCC at the time, Bhopal disaster survivors are struggling to find any form of closure to the tragic event.

Art News: Bhopal - A Silent Picture by Samar Jodha, Art Scene India

Samar Jodha’s art installation is a grim reminder of the tragedy and a tribute to the innocent and faceless victims. An activist artist Jodha has been using photography and film for the past 20 years to address issues such as development, human rights and conservation.

"A striking document which will contribute to perpetuate the memory of an apocalyptic event," says Dominique Lapierre, the co-author of It Was Five Past Midnight in Bhopal about Jodha's project. Bhopal - A Silent Picture is a multimedia installation that simulates an environment with sound, light and temperature to recreate the sensory experience of the night of the disaster.

the project creates a simulated environment through sound, light and controlled temperature inside the container that takes the viewer through a proximate experience - See more at: http://www.hindustantimes.com/india-news/bhopal/bhopal-gas-tragedy-themed-art-installation-in-rome/article1-1292774.aspx#sthash.HlPsFiud.dpuf

The photographs in the multimedia installation have been shot at the Union Carbide plant, which has since been sealed. The leakage from that fateful night continues to poison the soil, air and water of its surrounding areas. 'The images portray an eerie emptiness – comparable to the Nazi gas chambers of Auschwitz. However, unlike Auschwitz, the perpetrators of this crime continue to walk free. The victims – largely poor people, continue to be denied fair compensation, adequate health care or legal redressal. Worse, they are forced behind a veil of indifference and enforced silence. This installation also hints at this state of affairs with a shroud bearing names and file numbers of some of the victims’ that envelops them in anonymity' elaborates Jodha's website.

Jodha began working on the …Silent Picture project in 2004, when a UK-based TV channel asked him to take a few pictures of the site to mark 20 years of the tragedy. After completing his assignment for the channel, he began working independently there and has shown the resultant cargo container interactive art installation in the UK, US and Switzerland since 2009.
Jodha took his exhibit to London during the 2012 Olympics, as a mark of protest against Dow Chemical Company, the parent company of Union Carbide, acting as official partner of the Games.
- See more at: http://www.hindustantimes.com/india-news/bhopal/bhopal-gas-tragedy-themed-art-installation-in-rome/article1-1292774.aspx#sthash.HlPsFiud.dpuf

Jodha's art installation has traveled to Delhi, Mumbai and Chennai. Over 85,000 people visited this project in Mumbai in a week alone, making it the largest ever-viewed public art project in India.

In association with Amnesty International Italy, Jodha’s installation is on display at the Piazza Della Repubblica in Rome till December 6, 2014.

1 Dec 2014

Tips: Exhibiting Art in Non-Gallery Spaces

What you should know before exhibiting your artwork in alternative spaces, such as hotels, restaurants, coffee shops, boutiques and even malls.

In a weak economy, it helps to be creative and look for alternative sources of income. For an artist it could mean exploring online options for selling art and it could also involve looking for unconventional venues and non-gallery spaces for exhibiting art. In this context, let’s consider the factors involved in exhibiting your artworks in spaces, such as hotels, restaurants, coffee shops, boutiques and even malls.

Exhibiting Art in Non-Gallery Spacessuch as hotels, restaurants, coffee shops, boutiques and even malls, Art Scene India

In India, there have been a lot of changes in the art scene and people are adopting creative approaches to tap newer markets and clientele. Many shows are organized by art dealers and promoters in alternate venues. When a show is organized by a professional, it becomes easier for artists to navigate terms and conditions and ensure that all their concerns are addressed.

On the other hand, if as an artist, you are approached directly to put up a few artworks in a commercial space, you need to ensure that you get a fair deal. Working outside a gallery can be a complicated process with several unknown elements and it helps to have a clear picture of what it encompasses. Knowing that art can be a huge draw for their clients, there are an increasing number of commercial venues who are exploring tie ups with artists and galleries. Having an art show or just having art on the walls does make it a culturally enhanced space, so yes; they need you as much as you need them.

There are benefits in exhibiting in a non-gallery space if you can take care of a few factors. One of the first things that you should do is to make sure that exhibiting in such a venue is not conflicting with the policies of any of the galleries that you are associated with.

Exposure and Visibility

A huge advantage in exhibiting in a non-gallery space is that the audience is very different from the regular crowd which visits art galleries. So, in terms of exposure and visibility it is a great idea to explore alternative venues, especially if you have artworks to spare. There is a chance that you may not sell your artworks, as people who walk in for meals or coffee are often unlikely to buy art on a whim. More so, if this is a place which is not a regular on the art and culture scene! Having said that, remember that such venues are growing in number which means that the audience is becoming more aware and conditioned to the idea of buying art.

Here are a few things to know when finalizing the place. Make sure it is a space which has sufficient footfalls and the ambience is interesting. Discuss with the management to ensure that the display is good and your artwork is not being used simply for the purposes of interior decoration.

If it is going to be an exhibition for a short time, then it makes sense to ensure there is enough publicity for the event and there are invites, write-ups and print material to give out more information about you - contact details and your profile. Remember, people who are buying your art would like to know more about you.

It helps to have multiple events to coincide with your show. You could and should insist on having a preview, in addition to other events which could be related to food, music or artist interactions. These are all beneficial and help to get people to come and attend these functions and hopefully also buy.

It’s important that the artworks appear to be on sale and not part of the interior décor, because unless clearly stated even if a visitor likes the painting, he is not going to inquire about it if it looks like the painting is part of the décor. Carefully work out the sizes and costs of the artworks to make them attractive to clients.

Confirm

Costs: Framing and printing of the invites, cards and leaflets. Are there any other costs? If there is a preview who is bearing the cost.

Duration: How long will the artworks be on display – short term (less than one month) or is it for a longer (more than six months) time frame. In case it is for a longer time, you may want to rotate/replace the paintings every couple of months.

Commission: How much is the hotel going to charge you for the sale of each artwork? The percentage is usually significantly lower than what an art gallery would normally charge.

Exposure: Find out if they plan to advertise, send out newsletters to their clients or if they will hire a PR Agency to do the media publicity.

Display: Where are the artworks displayed? Is it in some corner where no one will see it, or is it in a high visibility area where there are a lot of visitors? Give your inputs to ensure a good display. Make sure the lighting is appropriate and highlights your work.

Insurance: Who is responsible for loss or damage to the artwork – what about insurance costs?

Work out the logistics of delivering the artworks – packaging and shipping and discuss the payment options in advance.

I hope this helps you when next time you are approached by a commercial venue to have an exhibition.

If you have exhibited in a hotel, café or a mall, tell us about your experience, Also, if you have any suggestions, please share with us.

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25 Nov 2014

Blogerversary: Art Scene India Completes 8 Years

8 Years of my Online Avatar

Blogging for the last eight years has been one of the best decisions of my life. Even though it started out as a random extension of my work in 2006, the blog has organically grown into a niche site on art.

You may remember, in the initial phase, I was essentially sharing most of my print articles in order to reach out to a larger audience on the web. Starting with a basic template on blogger, May to November 2006 was all about figuring out how to upload content and tweaking the template according to my requirements. I remember I had to depend on my husband (an IIT alumni, no less!) to make most of those changes which involved programming skills.

A few years down the line, when I migrated to another template, I was more confident about making the switch on my own, ensuring that all backups were taken care of. The last thing you want is for all the data to disappear during the transition!

Indian Art (2006) to Art Scene India (2014)

And, then finally about a year ago, I opted to move to a sleek, uncluttered look with a white background. I was even able to customize the template to a large extent. I opened up the site to advertisers and for the very first time I talked about my blogging journey and the challenging times that I went through. If you haven’t read it, you can take a look here.

Coming back to this story, so, even though Art Scene India may not be perfect, it is a website that is unique and tries to conform to highest standards of online publishing. Remember, today blogging is not just about creating great content but involves so much more - keywords, SEO, image titles and alt tags, social media and the works. For a non-technical person with zero programming skills it can often be a challenge, as I have often discovered. Fortunately, I have a great community of readers, YOU, who have been amazingly supportive throughout!

Most Read/Favourite Posts

This November, on the blog’s 8th anniversary, it is time to reflect, take stock and plan ahead!
Just to let you know, the first post ever published on this blog was on 2nd November, 2006. It was an article written on Atul Dodiya for Times of India. I talked to Atul close to 2 hours and had recorded the entire conversation – he was a delight to talk to, especially once he opened up. He shared details about his life, his journey and his family – a wonderful conversation, how I wish I had saved the audio!

Raja Ravi Verma’s Lady in Moonlight NGMA Bangalore

A writeup on NGMA, Bangalore has been one of the most visited articles on my website. It was linked from Wikipedia as I found out accidentally, but then I later discovered that it (the link) was deleted.

Another post, a really short one on Mandana Art is a close second on the list of most visited articles on Art Scene India. It definitely needs to be updated because the information is so sketchy that I am sure the readers’ visiting the page must be disappointed. If you know any artist belonging to the Meena community, do let me know. Top 10 Posts of 2013: Time to Wrap Up and More is also one of the most read posts.

Here are a few of my favourite posts and which I wrote exclusively for you. I would love to have you revisit them 10 Tips For Buying Art, 6 Tips on How to Approach an Art Gallery and Find Gallery Representation, How To Write An Artist Statement and How to Create an Online Presence. All of these have been quite popular with readers. Incidentally, most of these topics have evolved into lectures for art students and workshops for practicing artists!

It's All About You

As I look back at the last eight years, I realize it has been a long time and even though there were moments when things were difficult and I was not able to post much, I am happy to be here. With you.

I’m sharing a part of what Jaideep Sen, art writer & amateur artist, sent me by email, “Nalini Malaviya's blog, Art Scene India, has for many years been the definitive archive and resource for art-show attenders & enthusiasts in Bangalore. As an art writer, I have incessantly referenced and borrowed material and info from her blog, Art Scene India... I'm indebted, to say the least, and continue to seek inspiration in her commitment to the arts in Bangalore." Thank you, Jaideep for your generous words!

Lot more is planned and on the anvil. You have to come back and check it out for yourself. And, thank you for being part of this amazing journey.

Finally, a huge thank you to the advertisers and sponsors who have supported Art Scene India!
You may also want to take a look at the updated 'About' and 'Advertise' pages.

I would love to know which have been your favourite posts? What changes do you want to see on this website? What is it that you want to read? Drop a comment here or send me a mail. You know I want to hear from you!

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20 Nov 2014

Art News: ‘ABHISARAN’ Convergence of Artists at Heritage Site

A dialogue in contemporary and performing arts across borders for a new age India at Vijayanagara, Karnataka

A Convergence of 5 Countries, 10 Artists at a World Heritage Site

This November, ten talented artists from across the Indian subcontinent have converged at Vijayanagar Karnataka for ‘Abhisaran’, a 3-week long residency programme hosted by the JSW Foundation to create art that recognises the reality of today and the beauty of a time gone by.

Art News: ‘ABHISARAN’ Convergence of Artists at Heritage Site, Art Scene India

Abhisaran literally translates to ‘convergence’, a residency programme which acts as a focal point where artists, from similar political and cultural history of the Indian sub-continent, interact and create art works inspired by the historicity of Hampi and Vijayanagar. Amit Jain, Curator of the project adds, “Abhisaran is a dialogue in contemporary and performing arts across borders for a new age India.” The Heritage Site of Hampi, the industrial town of Vijayanagar and the arts, crafts and performance practices of Hampi are serving as an inspiration ground for these artists.

Drawing from Richard Sennett’s idea of a ‘craftsman’ being a skilled labour who engages with the questions of ‘how’ (Animal Laborans) and ‘why’ (Homo Faber) in the making of a craft (or art), this workshop hopes to empower the artists with raw material that is age old yet functional questioning both the purpose of their production and its effect on various communities. It provides an opportunity where artists can use their imagination and experience to create art works with medium of their choosing.

The artists are using site-specific material like metal scrap, local pottery, local crafts and material to create works with a variety of mediums that include sculptural installations, dance, video and sound.

The artists taking part in Abhisaran are Baptist Coelho (India), Chinthaka Thenuwara (Sri Lanka), Mahbubur Rahman (Bangladesh), Mrugen Rathod (India), Muzummil Ruheel (Pakistan), Pala Pothupitiya (Sri Lanka), Preksha Tater (India), Seema Nusrat (Pakistan), Sanjeev Mahajan (Nepal) and Sheelasha Rajbhandhari (Nepal).

The residency will end on November 30, 2014.

(Excerpts from press release)

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18 Nov 2014

Art in Interiors: Painting a Wall

An entire wall painted with a mural can be the highlight of any décor scheme

The impact of a single large artwork in interiors is well recognized as it can dominate any space and set the tone for the entire décor. There are two ways to go about it - one can either display a very large painting on a wall to cover it completely and make it a centerpiece. Or, one can treat the wall as the canvas and paint it directly. The impact of a painted wall, essentially a mural is definitely more striking. It is therefore important to choose the right wall for this purpose, for instance, it should be prominently placed so that it can easily become the highlight of the décor scheme.

Art in Interiors, Mural by artist Bharati Sagar, Image courtesy artist, Art Scene India

Once the wall is decided, it is essential to choose the theme and the artist with care to ensure best results. There are artists who specialize in doing murals and it would be a good idea to get in touch with one. The paint materials which are used for a mural have to be selected such that they can be sustained over the years, and the painting remains fresh and undamaged. The advantage in commissioning an artist is that the residents can participate actively in the concept, design and details of the artwork.

Art in Interiors, Mural by artist Bharati Sagar, Art Scene India, Times of India-The Address

An uncluttered wall will display a mural to its advantage, however one could even have the wall behind the television painted with a mural as most of the seating is directed towards it. On the other hand, a mural on a wall directly in front of an entrance, such as a bedroom or a children’s room will work, as long as it is conspicuously placed. Once an entire wall is painted, it is important to not clutter it with more artworks, especially paintings.

The lighting of the mural also requires care so that every detail and nuance gets accentuated effectively. More than one spotlight may be necessary to cover the entire mural. Again, lights must be chosen so that they do not harm the colours of the painting.

This article was published in The Times of India-The Address recently.
Image courtesy artist Bharati Sagar

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11 Nov 2014

Art News: Transitions by Shraddha Rathi

A Solo Exhibition of paintings 'Transitions' by Shraddha Rathi from

15th to 18th November 14 at The Taj West End, Bangalore

Trained as a Bharatnatyam dancer and educated as an architect, Shraddha Rathi explores an entirely new medium of expression through painting, coalescing key influences from both these creative fields. Through rhythmic forms, colours and textures Shraddha mesmerises with her thought provoking and inspiring paintings that combine Indian traditional values and modern experiences.

Painting from series 'Transitions' by Shraddha Rathi, Bangalore, Art Scene India

"Every painting has a story to tell…. Painting to me is a language through which I express my thoughts. The three dimensions that I constantly build on, in my works are space, texture and expression. Time and my journey within, shape my thoughts which get reflected in my works. Developed over a period of time the current exhibition is a combination of three sets of works.

Shadows - My affinity to architecture resulted in the series of paintings called Shadows. I worked on themes that lend themselves to perspective and space. It is an attempt to capture the beautifully crafted and carved stonework in our historical past. I love the subject for its sheer contrast, the moment I add shadows the image starts coming alive to me. I have used visible brush strokes, unusual visual angles and light in its changing qualities in a monochromatic colour scheme.

A journey within - These set of works focus on my thoughts and ideas of Indian culture and teachings of Buddha. ‘What we think we become’, depicting Buddha in white, a colour that encompasses spirit of purity and evolution. The colourful images in this series, came forth as repetitive patterns, reflected themes from my subconscious mind, based on life and symbolic relationship between man and his thoughts. And how the ongoing process of thoughts designs our life.

Rhythm of colour - For an artist, the transition from narrative to abstract is a leap of faith…. Change is inevitable. From form to formless and monochrome to colourful. Yet another effort to convey myself, this time through basic design. I have used Line as an element in all its variations. Free flowing forms that overlap and merge into each other in many intricate sections. These works have an essence of movement in them. They refer to urbanscapes, rhythmic patterns, or may be, threads on a grid to be woven into fabric ……and allow the viewer to explore the works from a very personal perspective." Shraddha Rathi.

Exhibition 'Transitions' by Shraddha Rathi, Bangalore, Art Scene India

The exhibition is on view from 15th-18th November at The Taj West End, Bangalore

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6 Nov 2014

Interview: Renu Modi on 25th anniversary of Gallery Espace

In a discussion with Art Scene India, Renu Modi, Director, Gallery Espace reflects on her enriching journey in the world of art and reveals her plans for celebrating the gallery's 25th anniversary this year. Hosting one of the most ambitious shows ever featuring ‘Drawings’ by over hundred Indian contemporary artists spanning seven decades, the show promises to be a mega event.

1. Twenty-five years is a long time! How has the journey been?

Art Scene India interviews Renu Modi, Director, Gallery Espace on its 25th anniversary

It’s been an enriching journey. It was on M F. Husain’s insistence that I started the gallery 25 years ago, but without any expectations, without any road map of how to go forward. I knew I had to just follow my instinct and the passion for art, inculcated in me by stalwarts like Manjit Bawa, Swaminathan, Laxma Goud, K K Nayar (art critic) and so many others. I remember sitting with them in their studios for hours just interacting with them and that gave me an immensely enriching world-view about the world of art. I have, by now, witnessed the changing dynamics in the art practice of three generations of artists, starting from Husain to Ghulam Mohammed Sheikh to the really young lot. The mantra has always been to readapt myself to changing times.

2. When you look back how difficult was it in the initial stages?

It was very difficult initially having no experience of the art market. Many people thought it would be a

passing fancy for a corporate man’s wife but I stuck through. In fact, I remember NS Bendre telling me that it would take me three to four years to establish myself and that is what exactly happened.

3. There are so many galleries now...how does that affect you?

It doesn’t affect me at all. There is space for everyone and newer galleries bring in young energy which is very welcome.

4. When the art market crashed (and it still hasn't recovered!) what were your thoughts?

Like everyone else, it was tough for us as well. We did curb our expenses a bit and did fewer shows for a few months but that was only for a short period. As I said I have always followed my instinct and shown art which I have believed in. Monetary benefit is important but not the prime reason to hold shows.

"I feel artists bare their souls in drawings, these are like musical notes, their mental notes."

5. I remember Manjunath Kamath's show a few years ago, where he drew on the gallery walls...you do seem to have an affinity for 'drawings'...

The USP of the gallery has always been the medium based shows. The gallery has done at least five

exhibitions based on drawings starting from Drawing '94, Lyric Line, The Paper Flute to name a few. And now we are ready to have another presentation in the form of Drawing 2014, due to open on November 9, 2014 at IGNCA. Similar has been the case for sculptures and even printmaking, with the gallery putting forward exhibitions like Sculpture '95 and Mini prints respectively. I feel artists bare their souls in drawings, these are like musical notes, their mental notes. Drawings are also the foundation of any art, any discipline. Also the approach to drawings has changed so much, they are no longer pen and ink works, or sketches on paper, For instance, in the 25th anniversary show, we have embroidered drawings by Rakhi Peswani, print-based scrolls by Paula Sengupta, very minimalistic works by Somnath Hore, video by Sonia Khurana, installation by Chintan Upadhyay, a sculptural drawing by Riyas Komu...and so much more – but all celebrating drawings.

6. What was the idea behind having an anniversary show exclusively around the concept of drawings?

I didn’t want to have a regular show and wanted to do one where I could contribute too. Since drawing has been one of my favourite mediums and Espace has consistently been doing exhibitions around this theme, it befits Espace to do this show. It was due to the boom in the market that people have forgotten works on paper and we want to showcase the evolution of drawings that has taken place in seven decades. I also wanted to bust the myth that one cannot invest in drawings.

7. On a personal level, what do you feel are the shifts, if any, in the use of line as a tool in contemporary art?

There has been a circular shift. From using classical lines to using material and technology, there has been a sea change. For instance, Mithu Sen has a light box in the show which lends such a tactile feel to her work. So the time of two-dimensionality in art is over, it’s now about functionality, materiality and performative aspects of drawings that are being looked at.

8. How has the perception and critical appreciation of Indian art changed - for buyers, collectors and viewers in India and abroad?

The art scene over the past 25 years in my view has undergone a 360 degrees change. From something which was unstructured, it’s becoming more structured now. Buyers’ profiles have changed, they are younger and upwardly mobile, they can explore so much over the internet, auction houses have started guiding price lines to some extent, developments in technology have also added changes. Investment in art has grown for sure, especially coming now from the NRI segment.

This interview was coordinated via e-mail.

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Art Scene India completes 8 years this November! Watch out for special posts!!!

31 Oct 2014

Art News: Sparsha, Indian Art Exhibition at Kunstmuseum Bochum, Germany

Sparsha, a contemporary Indian art exhibition is set to open at Kunstmuseum Bochum, Germany

An exhibition exploring reflections on Hindu rituals by contemporary Indian artists previews on 2nd November at Kunstmuseum Bochum Germany. This exhibition titled Sparsha will display videos, installations, sculptures, miniatures as well as Tantric art.

Mahirwan Mamtani, an Indian artist based in Germany will be showing 21 works from his series Transmuted-Fotos as part of Sparsha. Mamtani is a painter, graphic and multimedia artist, who grew up in India and moved to Germany in 1966. He was awarded a scholarship by DAAD (German Academic Exchange Service) to study painting at the Kunstakademie. Since then he has been living and working in Munich.

Artist Mahirwan Mamtani's Centrovision, Art Scene India

In the 1960s, influenced by Constructivism and Tantra art Mamtani came up with the series Centrovision, which consisted of more than 3000 works in 1990. “The inspiration for Mahirwan Mamtani's conception of "Centrovision" is derived from the manifestation of tantric doctrines. Emanating from the centre toward the outside, his forms are akin to the mandala concept, the visual manifestation of which are based on the axiom of microcosm versus macrocosm,” explains Dr. L.P. Sihare.

Artist Mahirwan Mamtani's Transmuted-Fotos as part of Sparsha, Kunstmuseum Bochum, Germany, Art Scene India

Regarding Transmuted-Fotos, Mamtani explains, “These are the photographs of my dance performances which I have over-painted with acrylic colours.” He performed dances wearing several mandala masks, which he painted on wood. These dances were recorded in the form of photos and videos and then painted over the surface of the resulting photo sheets with acrylic colours, creating a series of new mixed-media works of art. The result is human figures with mask like faces assuming new identities, and poised as enigmatic creatures. The performative stances and theatrical settings heighten elements of mystery, drama and the absurd.

According to Günter Ebert, “Mamtani´s figures appear with a mysterious aura and gravity begins to dissolve. What is invisible in the real world is visible here. The background of his paintings consists of molecular structures floating in the atmosphere, the so-called “orbs”. This transmutes the body thus a fantastic world of thought takes shape and opens the doors into a hidden world.”

Exploring plurality of cultures, the diversity and paradoxes existing in India and its linkages with ritualistic traditions,Sparsha promises to be interesting. The other artists invited to participate in this exhibition include Desire Machine Collective, Chitra Ganesh, Sunil Gawde, Subodh Gupta, Amar Kanwar, Subodh Kerkar, Nalini Malani, Mahirwan Mamtani, Monali Meher, Prabhavathi Meppayil, Pushpamala N, Mithu Sen, Tejal Shah, Viveek Sharma, Gulam Mohammed Sheikh, Sudarshan Shetty, L.N. Tallur and Thukral & Tagra.

The exhibition will open on 2nd November 2014 and will continue until 1st February 2015 at Kunstmuseum Bochum, Germany

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17 Oct 2014

Art News: An Eclectic Collection

The eleventh annual show at Galerie Sara Arakkal, Bangalore has some interesting works on display.

Adimoolam K.M Queen 21''x14'', Ink on paper, 11th annual show, Galerie Sara Arakkal, Art Scene India

In Bangalore, the annual show by Galerie Sara Arakkal has attained a ritualistic flavour and is held sometime between August and September every year. It has become a meeting point of artists of all ages and from across the length and breadth of the country. In its eleventh edition this year, the exhibition once again brings together contemporary artists from Bangalore and elsewhere to showcase their works.

Some of the artists whose works are included in the show are Adimoolam K M, Anjoli Ela Menon, Azis T M, Bharathi Sagar, C F John, Gopinath S, Gurudas Shenoy, Jasu Rawal, Mridul Chandra, Md. Rizwan, Rekha Rao, Shanthamani M, Shirley Mathew, Seema Kohli, S G Vasudev, Venugopal V G and Yusuf Arakkal. This year Galerie Sara Arakkal has introduced four new artists Aishwaryan K, Lokesh B H, Nedunchelian and Thirumala Thirupathi.

Aishwaryan.K Menasu, Gouache& Indian ink Elephant dung paper 2, 18''x18'' 2014 11th annual show, Galerie Sara Arakkal, Art Scene India

Yusuf Arakkal Still life, oil on canvas, 18''x18'' 11th annual show, Galerie Sara Arakkal, Art Scene India

Azis Untitled Acrylic on canvas, 18''x18'' 2014 11th annual show, Galerie Sara Arakkal, Art Scene India

There are some very good works on show and the pricing is also on the affordable side. On the whole, this exhibition is interesting because it brings together such diverse artists together on a single platform, but the lack of a curatorial intervention is quite evident.

One feels that there is huge potential to turn it into a major forum in Southern India for showcasing some of the finest art from a select group of artists. And, one hopes that this is taken into account when planning for next year’s annual event.

The show will continue daily at Galerie Sara Arakkal till 31st October 2014

Let me know if you visit the show. And, which works did you like?

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15 Oct 2014

Raja Ravi Varma’s Oleographs: Glimpses from the Past

Raja Ravi Varma's oleographs offer insights into a significant cultural phase of the late 19th century India

An exhibition of rare oleographs by Raja Ravi Varma opens tomorrow (Oct 16) in Bangalore. Titled Emotions; Relations; Reflections, these select oleographs from the Ravi Varma Press belong to the private collection of Sachin Kaluskar from Vadodara.

The exhibition has also been curated by Sachin who has adopted a thematic approach in categorising them. Sachin started collecting oleographs purely by chance when a print of ‘Saraswati’ turned out to bear a mark from the Ravi Varma press. His curiosity piqued, Sachin researched on Ravi Varma’s oleographs and was fascinated by what he read. He then went on to collect these prints from friends, royal families in Saurashtra and even temples. He has now been collecting oleographs for the last eight years and has amassed a large collection, parts of which he has exhibited in various places.

According to Sachin, Ravi Varma’s paintings depict multiple emotions such as devotion, love, pain, anguish, innocence and power, amongst others. This exhibition of oleographs too portrays gods and goddesses in a human form, and are depicted experiencing myriad emotions - in effect every oleograph has a unique story to narrate.

Ravi Varma (1848 –1906) born in Kilimanoor, present day Kerala was a prolific painter who depicted scenes from the epics and mythology, and also painted portraits of royal families. He was the first Indian artist to depict cultural themes through European painting techniques and was also one of the first artists to use oil as a medium of painting. His paintings of gods and goddesses and vignettes from mythological tales are well recognized and reproduced even today.

Ravi Varma’s oleographs also called chromolithographs were instrumental in taking art to the masses. Oleography (oleo means oil) in essence is a process of reproducing an oil painting on paper to match the exact colours and brushstrokes with the objective of making it look like an oil painting. The technique was pioneered in the 1830s by an Englishman George Boxter but came into wide commercial use only in the 1860s. Oleography was the most popular method of colour reproduction until the end of the 19th century, when more efficient techniques rendered it obsolete.

It is believed that Ravi Varma started the lithographic printing press on the advice of Dewan Madav Rao in Mumbai in 1894 and it was managed by his brother, Raja Varma. The printing press was procured from Germany and the technicians to operate the press were also from Europe. The oleographs were mostly of Hindu dieties and depict scenes from the Mahabharata, Ramayana and the Puranas. The oleographs were very popular and continued to be printed even after Ravi Varma's death in 1906*.

136 oleographs will be presented in this exhibition and a few of them show the effects of ageing on them, which is no surprise given that they are almost 100 years old. Damyanti, Maneka and Vishvamitra, Nal Damyanti Vanvas and Radha Vilas are some of the prints which will be on display here.

The exhibition is on view at Phoenix Market City from October 16-22, 2014.

*Wikipedia

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13 Oct 2014

Art for Festive Occasions

Art is a wonderful way to add colour, style and statement to our surroundings

Festivals are an ideal time for family and friends to get together and celebrate the occasion and to take the opportunity to reiterate lifelong bonds. Deepawali which is celebrated across the country with great enthusiasm and joy is a festival which mandates spring cleaning and decorating home interiors on an extensive scale. It offers immense possibilities to unleash your creativity and decorate interiors innovatively.

Art for Festive Occasions, Art Scene India, Image courtesy Bipasha Sen Gupta

Art is a wonderful way to add colour, style and statement to our surroundings. Colours and moods are interlinked and it is a well-known fact that bright vibrant colours which symbolize energy and vigor are uplifting and help in creating a spirit of celebration. Also, colours that are used symbolically in our tradition and culture as part of rituals and ceremonies, such as ochre, vermilion and rust should be used generously to reaffirm the festive spirit. This would be a good time to choose paintings which reflect not only these colours but are also celebratory in nature.

Conventionally, paintings are the most popular form of artworks that are

Art for Festive Occasions, Art Scene India, Image courtesy Mahirwan Mamtani

displayed in homes and it is common to have a large painting placed over a central seating area and it works well in most interior spaces. During the festive season it would be a good idea to display paintings which focus on traditional and ethnic themes. These can be put up as a set or singly if they are large.

In addition, there are several other options apart from just traditional ones which can also be used to create a unique and different look. Displaying art in the form of accessories is also a wonderful way to enhance your surroundings. For instance, having paintings or sketches on functional and utilitarian accessories such has chairs, cushion covers, coasters, coffee mugs, decorative wooden boxes and

Art for Festive Occasions, Art Scene India, Image courtesy Sanghita Das

so on not only make these functional items colourful but also very dramatic. A single large piece of furniture such as a chair or a table can be hand painted by a professional artist to turn it into a conversation piece. This may be slightly expensive but if you look around you should be able to find an upcoming artist or a student who can do this in a more affordable manner. And, in case you are artistically inclined you could always try painting it yourself, but do experiment on a smaller and less expensive piece first. For a larger number of collectable items, a screen-printed option which has been done professionally works much better.

Art for Festive Occasions, Art Scene India, Image courtesy Ahambhumika

These days, it is common to have a wall as an accent by painting it in another colour and by using textures to enhance its mundane appearance, instead you can have a wall accentuated by having it painted by an artist. Here you can either have a contemporary look or opt for an ethnic or traditional finish by getting it painted by a folk artist. An abstract sketch or a colorful mosaic will look fabulous in a contemporary décor, while Madhubani, Pithora, Worli or any other folk or tribal art can make a huge difference to the ambience. Both these options are worth exploring and are sure to make your décor stand out.

Festivals are also a great time to display traditional figurines, antique paintings and other artifacts which are either hand painted or customized. The important thing is to be creative in your display and choose artifacts with care to ensure a festive air prevails.

Images courtesy Bipasha Sen Gupta, Mahirwan Mamtani, Sanghita Das and Aham Bhumika

This article was published earlier in The Times of India-Property, Bangalore

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24 Sept 2014

Studio Visit: Milind Nayak

Studio visits offer fresh insights into the process of art making.

This week’s post is an informal update on my visit to artist Milind Nayak’s studio. Milind, who is recovering remarkably well from a recent health scare, is back at his easel and doing what he does best - paint these amazing landscapes! Right now, he’s working on a new series, where he explores the ‘ripple’ effect, both literally and metaphorically. But, more on that some other time. Some of the large canvasses are truly spectacular and I look forward to seeing them on gallery walls soon.

Artist Milind Nayak in his studio, Art Scene India, Picture: Nalini Malaviya

We talked about various things as we looked at his early works – some from the 1970s, when he was closely associated with the veteran artist GS Shenoy, who is no more. It’s always fascinating to revisit old works and see the kind of influences that existed at the time, and then to observe how the evolution occurs, and changes in form, colours and textures take place organically over the years.

Studio visits are always exciting and give greater awareness about an artist’s work, not only is one listening to the artist’s words and his/her interpretations, but one also gets insights into the process of art production.

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17 Sept 2014

Art News: Multiple Visages - Narratives of Existence

INVITATION | ANANYA DRISHYA | BHARATI SAGAR & MRIDUL CHANDRA | MODERATED BY NALINI MALAVIYA | 27 SEPTEMBER, 6PM | VENKATAPPA ART GALLERY

Multiple Visages: Narratives of Existence

In the depth of my soul there is
A wordless song - a song that lives
In the seed of my heart

- Khalil Gibran

A million slivers of life exist around us - in the numerous stories that await discovery. Stories of joy, celebration, sorrow and grief. Of ordinary people and their daily lives. Stories that resonate and stay with us and which alter our reality as we reflect and assimilate. Reinvented and retold, these emerge as wordless songs on canvas narrating multiple visages of life, and existence. Bharati Sagar and Mridul Chandra draw inspiration from everyday life and capture these vignettes in their paintings.

About

Bharati Sagar learnt Commercial Art by correspondence from the British Institute, Mumbai at the tender age of 13 and then studied fine arts at The Fine Arts and Architecture College, Hydrabad. She also learnt Ceramics at The Lalit Kala Academy –Kolkata. She is well versed in landscape painting especially seascapes, has dabbled in
abstract art though she is better known for her sensitive portrayal of women and children.
Bharati has had solo shows and participated in several group shows in metros in India and abroad for more than 3 decades. Her most recent shows were in New York - 2012 and 2014 at a group show, where two of her works were projected on the buildings around Time Square-NY. In 2013, 10 of her paintings were projected on big screens at a gallery in Miami.

Mridul Chandra graduated from the JJ School of Art (Mumbai) in 1978. She worked with the Sharat Das Consortium (architects for Indraprastha Stadium, Delhi Asiad 1982) and designed furniture and interiors for the stadium. She pursued graphics for a while, before getting into fine arts on a full time basis and has taught I.B. Art to the students of Canadian International School, Bangalore.
She derives inspiration for her works from travel, allowing her to juxtapose various scenes in a figurative format with textured backgrounds. The scenes narrate the reality of what she observes during her travels: migrant worker, laundry man, chai shop, teeming cities and towns – the pageant of the human being in an urban context, thus communicating her insights. Portraiture is her favourite medium and her compositions have a sense of celebration and renewal.

Nalini Malaviya is a Bangalore based art consultant, writer and blogger. She has been writing for the media since 2003, and has been an art columnist for Financial Times (Delhi and Bangalore) and Bangalore Mirror. She has contributed to Times of India, Femina and several other publications including art magazines and catalogs. An occasional fiction writer, Nalini has published short stories as part of various anthologies. She also curates shows and conducts workshops for artists.

Nalini runs www.artsceneindia.com, a popular blog cum Ezine featuring art news, events and articles. The website functions as an artist resource and also promotes artists. Currently, she is working on creating an eBook from her published articles.

10 Sept 2014

Art News: Art for Social Change

Bangalore based artist P. Mahesh Kumar is participating in ArtPrize, an international art competition in Grand Rapids, Michigan to be held between Sep 24 - Oct 12, 2014. His painting titled A Girl's Freedom will be exhibited at Fountain Street Church - one of the top 5 venues to host the ArtPrize event under the theme "Art to Change the World: Inspiring Social Justice”. Artworks ‘will be judged by their ability to communicate human rights issues and on the quality of artistic expression’.

A Girl's Freedom by P. Mahesh Kumar for ArtPrize, Art Scene India, Image courtesy artist

ArtPrize is described as an ‘unorthodox, highly disruptive, and undeniably intriguing to the art world and the public alike’. According to the ArtPrize website, ‘For 19 days, three square miles of downtown Grand Rapids, Michigan, become an open playing field where anyone can find a voice in the conversation about what is art and why it matters. Art from around the world pops up in every inch of downtown, and it’s all free and open to the public’.

The event is not curated and is open to all artists of any background from anywhere in the world. Involving huge prize money and multiple prizes, the method of choosing the prize winner has been compared to the popular reality show American Idol.

Mahesh Kumar’s painting focuses on gender related issues and deals with social evils such as female infanticide, domestic violence and crimes against women. The artwork is an attempt to portray hopes and aspirations of millions of Indian women and to draw attention to multiple challenges faced by them in their daily life. The painting raises a highly relevant issue and we hope the effort finds appreciation with the audience at the ArtPrize exhibition.

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