Art News: Call for applications for Artist Residency in Manipal University

Call for applications for Artist Residency in Manipal University last date May 15, 2017

The intention of this Art Residency at Manipal University is to add to the public art and aesthetics of the University. The University has already taken a major step in art-advocacy by hosting the prestigious KK Hebbar Gallery, and wants to further extend its support to young and talented artists. This year the Resident is required to be a Sculptor. As the University is located in a culturally and ecologically distinct region, it is preferred if the selected Artist pays homage to this distinctness by working with material (for example, laterite) native to the region. The idea is to create works, individually or in exceptional cases as part of a group of 3-4, that dot the landscape of the many different types of Institutions (such as medical, engineering, hospitality etc )that constitute the University. The works should be clearly visible, and perhaps pinned in a way that they cannot be stolen. It is also a key requirement that the Artist be a good communicator, who is willing to take customized classes/demonstrations in these varied Institutions explaining the rationale, process, and the need for public visibility of art in non-museum spaces. Such an opportunity is a great incentive for the selected Artist—his or her work would literally be seen by thousands of young people every day, and would become part of their lives.

The University will also provide opportunities for the Artist to further curate and exhibit their work, and mentor interested and talented students. The Artists need to submit their CV, with photos/samples of their work, a statement of what they hope to achieve in the given time, and details of budget, materials and other requirements for their work. The remuneration offered to the main sculptor is Rs 50,000/- per month for 3 months, and if there are a few assistants, their remuneration may be up to Rs. 30,000 per month.

The K K HEBBAR ART FOUNDATION will select the artist for the Artist Residency Project.

Dr Nikhil Govind
HGAC MANIPAL

All applications to be directed to: raorekha460(at)gmail.com, rajanipras(at)yahoo.com
(Press release received from Rekha Rao)

Art News: Google doodle celebrates Jamini Roy's birth anniversary

The Google doodle today, 11th Apr, 2017, celebrates the 130th birth anniversary of Jamini Roy, with an image inspired by his Black Horse painting

Jamini Roy (1887–1972) was a graduate from the Government College of Art, Kolkata, who gained recognition for his stylized paintings rooted in folk art traditions. The 1920s were remarkable for the search for identity on the creative front, and artists experimented with various subjects, themes, techniques and medium to express their artistic vision. Amidst this, Jamini Roy was drawn to the folk arts of Bengal, and simplified forms, while adopting bold, flat colours, and painted stories of ordinary men and women from villages, and other popular images inspired from the patua style.

“The appropriation of folk idioms manifested in various ways. There was a phase in which he adopted the calligraphic brush lines of Kalighat Patuas to create sophisticated forms. The austerity of lines only serves to highlight Roy’s superb control over brush. The lines drown lyrically and sometimes even sensuously with lampblack over white or pale gray background show not only vigour, but also the poetry latent in the human form. The paintings Baul and Woman Seated are excellent example of this style.” (1)

‘Ramayana’ considered to be his magnum opus is spread across 17 canvases and is created in the Kalighat pata style with natural colors, using earth, chalk powder and vegetable colors instead of dyes. The complete “Ramayana” is on display today at Sarada Charan Das' residence "Rossogolla Bhavan" in Kolkata along with 8 other large scale originals. The Das residence harbors the largest private collection of Jamini Roy paintings with 25 of the master’s originals. (2) Many of his other works can be viewed in the National Gallery of Modern Art in New Delhi.

Jamini Roy received many awards including the Padma Bhushan in 1955, he passed away in 1972.

Roy has played a huge role in popularizing Indian art among the masses and his works are recognised widely with ease. He is perhaps, one of the most copied Indian artists and for that reason, often it is difficult to assess the originality of his works.


(1) http://www.ngmaindia.gov.in/sh-jamini-roy.asp#

(2) http://www.kcdas.co.in/sarada.php

Art News: Anita Dube declared curator of Kochi-Muziris Biennale 2018

Anita Dube declared curator of Kochi-Muziris Biennale 2018

Kochi, March 29: Anita Dube, one of India’s most provocative and versatile contemporary artists, was announced here today as the curator for the fourth edition of the Kochi-Muziris Biennale (KMB) beginning December 2018. The selection is in keeping with the Biennale’s long-standing tradition of being an artist-led exhibition. 

The reveal – made by Culture Minister Shri A.K. Balan during the KMB 2016 closing ceremony at Durbar Hall Wednesday evening – followed the unanimous decision made by a high-powered panel of renowned artists and prominent personalities to bring Dube’s unique artistic insights and sensibilities to the Biennale – the largest celebration of contemporary art in South Asia. 

“Through three editions, the KMB has gained a reputation for being one of the most important exhibitions of its kind around the world. It is an honour and a very big challenge to be declared curator of this wonderful platform. I am delighted that the jurors thought I can deliver. I accept the responsibility with excitement and humility. It is early days yet and my thoughts will no doubt undergo several changes going forward, but I view this as an opportunity to do something special,” said Dube, who was present at the function.

Dube takes over from Sudarshan Shetty, whose vision for the third edition of India’s only Biennale saw 97 artists from 31 countries showcase their production – across a variety of forms, styles and disciplines – over a 108-day period starting 12/12/16. Spread out across 12 venues, KMB 2016 received more than six lakh visitors.

Based out of the National Capital Region, Dube is renowned for her conceptually rich, politically charged works. An art historian and critic by training and a visual artist in practice, she has been widely exhibited across the Americas, Europe and Asia, including at the first edition of the KMB in 2012. Dube’s practice uses found objects and industrial materials, photography and ‘word architecture’ to critique contemporary socio-political realities.

Her aesthetic idiom, in many ways, reflects her background as a member of the Indian Radical Painters and Sculptors Association – a short-lived but hugely influential collection of artists and art students who rebelled against what they perceived to be the commodification of art in India.

In fact, Dube’s selection comes nearly three decades after she wrote the manifesto of the group’s seminal exhibition ‘Questions and Dialogue’ held in 1987 in the western state of Gujarat – that called for an explicitly radical, socially and politically conscious approach to art making. The group focused on inexpensive materials and found objects to produce works that resisted commercialisation and connected with working-class audiences.

Describing Dube as a ‘thinking artist’, KMB co-founder Bose Krishnamachari said, “Anita’s sensitivity towards materials, incorporating everyday objects derived from informal, craft and industrial sources and spaces, is profound. As is her wordplay and use of mediums, gestures and imageries – all of which will make for varied experiences and resonances in a space as adaptive and accommodating as the Biennale. Her oeuvre features both knowledgeable consideration and skillful melding of the sensibilities and styles of abstractions with real, contemporary concerns. This will doubtless be reflected in her curatorial vision.”

Krishnamachari, who is also President of the Kochi Biennale Foundation (KBF) – the organisers of India’s only Biennale, was part of the ‘Artistic Advisory Committee’ that selected Dube as curator. The other panelists were KBF Secretary Riyas Komu, Velu Vishwanadhan, Sarat Maharaj, Ravi Agarwal, Dayanita Singh, Sadanand Menon, Kavita Singh and V. Sunil.

“Anita’s selection not only reinforces our commitment to having artists at the helm, but also our mission to address contemporary social-political-cultural concerns. Anita is a strong proponent of making art accessible to the public through effective political and social engagement. This is precisely what the Biennale tries to do,” Komu said.

Dube is also a board member at KHOJ, an international artists’ association she co-founded in 1997 in New Delhi. Over two decades, the initiative that began as a modest annual workshop has become one of the most important platforms shining a global spotlight on South Asian art, organising and hosting international ‘itinerant’ workshops, residencies and exhibitions.

Besides KMB 2012, she has been represented in various national and international biennales and festivals such as ‘Biennale Jogja XI’ (Indonesia, 2011), ‘Against Exclusion’ 3rd Moscow Biennale of Contemporary Art (2009), ‘iCon: India Contemporary’, Venice Biennale (Collateral event, 2005), ‘Yokohama Triennale’ (Japan, 2001) and the ‘7^th Havana Biennial’ (Cuba, 2000).

Dube was also a participant in the groundbreaking 2009 exhibition, ‘Indian Highway’, an itinerant collective show curated by Hans Ulrich Obrist, Julia Peyton-Jones and Gunnar B. Kvaran, which represented the growing importance of the sub-continent’s creative panorama – especially the vibrancy of its contemporary art scene – and the economic, social and cultural developments in the region over the past 20 years.

Interior Decor: Express Painting for Your Home

The BergerXP Indiblogger meet organized recently in Bangalore was an interesting experience that offered an opportunity to interact with other bloggers and to better understand the dynamics of house painting from market experts.

BergerXP, as the second largest paint company offers a wide range of products and services, along with a range of tools that automate the process of painting making it far more efficient and economical. Their tag line - faster, cleaner, better sounds promising to consumers like me who quake at the thought of having their home painted! Just imagine how nerve wracking it can be to visualise the furniture shifting, all that dust everywhere (during the sanding process when the existing layer of paint is scraped off), and finally having the coat of paint done on your walls. To put aside that amount of time and to have to live alongside the mess is a daunting thought!

Therefore, when Berger express painting explained that due to automated tools there is a 40-50% reduction in the time taken to paint a home and at comparative costs; it does appear to be an attractive proposition. The other advantage which stands out is the utilization of the sanding appliance which vacuums off the dust into a bag thereby cutting down on the amount of dust flying around. This, in fact, can be a boon to allergy sufferers and the elderly or those with immune compromised systems as the dust not only creates a mess, but can also trigger off asthma and allergic conditions.

The meet was also filled with activities offering hands on experience with sanding uneven surfaces to make them smooth as a preparatory stage prior to painting. Another activity involved composing an image around specific environmental themes and then painting with the BergerXP stainers and mixers. This was incredibly fun, but not easy, given that this had to be completed within twenty minutes, and involved mixing paints, and working with four other people simultaneously on the same piece of paper!

However, doing this made me realise how much I miss the entire process of painting and how therapeutic it can be, and perhaps this will motivate me to get back to my paints and brushes – not to have an art exhibition, but as a de-stressing activity. I will keep you posted on that :)

To know more about BergerXP, you can get detailed information here and you can also SMS them on the numbers listed on their website, so that their consultants can approach you about your painting requirements.

And I, meanwhile, hope to have at least one Textured 'Illusion' Wall’ done in my home and will let you know how that turns out!

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Berger Express Painting is a new age end-to-end painting solution provided by trained painters using automatic tools. It gives the consumer a faster, cleaner, better and hassle-free painting experience. The Express Service is provided by Berger Paints India and is executed by trained painters.

If you enjoyed reading this article, do share it using the social media widgets at the top and subscribe to receive regular updates from Art Scene India

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Bharat Thakur's Foray in Art Commences in Bangalore

Yoga Guru Bharat Thakur with his painting

Bharat Thakur's art is an extension of his philosophy towards life and living, and simultaneously, it is an exploration of the self and the spiritual. Although non-figurative, the paintings hint at observed narratives and personal vignettes. In the current exhibition, The Space Between, the entire body of works are abstracts which have evolved significantly in the last couple of decades. And they have become more textural, layered, and non-representational.

There is a greater fluidity in the application of the paint and an increase in depth as well, which has brought about a rhythmic and lyrical quality to it. The overall composition has an intrinsic harmony, which is highly evident in many of the works on display, where the use of light as a divine and serene element gives it a mystic and tranquil touch. At the same time, the combination of colours and rapid strokes suggest an almost effervescent energy which appears to be spilling out from the canvas.The black and white series has a mysterious quality to it.

There is some restraint that Thakur now depicts in his recent works, which helps to take it to another level. A prolific painter, the immediacy of the medium in acrylic and the process of painting - applying paint with his hands lend a tactile quality to the canvas. A compulsion to paint for several hours on a daily basis, the practice is in fact meditative for him – an extension of his yoga practice.

Leonardo da Vinci said that "Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen."And here, in the gallery, every work of Thakur is accompanied by a verse written by him - an evocative expression that draws the viewer in to explore both text and image.

The exhibition continues till 22nd Dec at Time and Space Art Gallery, Bangalore.

Protect Your Home Interiors

Many of you are aware that I also write on art in interiors, decorating spaces, and discuss ideas on home décor. As part of this, I am always on the lookout for innovative products that are beautifully designed, can be utilized during the construction process or offer design and sustainable solutions to the consumer.

One of the issues that often comes up in every home is linked to water seepage and leakage, which can result in damp patches, mould spots and leaks in parts of our home. This can be an unfortunate situation due to inadequate waterproofing in buildings and houses. Waterproofing may sound like a mundane requirement or a chore that must be completed somehow. But, believe me it is a necessary step absolutely crucial during the stage of construction to ensure that your house remains waterproofed. Now when you are investing so much in constructing a house and doing up the interiors, apart from the financial commitment you are also investing time and effort in a home in which you and your loved ones will live for years. The last thing you want is a house that gets easily damaged due to leakage and seepage of water from the ceiling, walls or floor. It therefore makes sense to invest in a high quality waterproofing option right at the construction stage.

I often talk about how to buy and display art, how to build an art collection and tips on decorating with art and artefacts. Much of this is really interlinked with waterproofing as well. For instance, if any one of the surfaces that you have an artwork in contact with or in close proximity to is damp, it can be disastrous for your valuable art. And as you know, moisture and dampness can damage artworks irrevocably thereby affecting their investment and resale value.

Similarly, damp environs can be a huge issue for your interiors in general. Furniture, artefacts and accessories and more importantly the health of your family is also affected. Allergies and respiratory problems can multiply manifold in a damp environment, when mould can grow and spread diseases.

Waterproofing at the construction stage itself is the best way to deal with this problem. Ideally, waterproofing should be done when the building is under construction so that the foundation, ceiling, walls, floor, bathrooms and storage tanks are waterproofed appropriately. Also, while renovating remember to implement waterproofing. Again, if there is any seepage later on, waterproofing can still be done to fix the problem. Fortunately, it costs only a fraction of the total cost of the construction; therefore there is no excuse to not implement it.

It is important that you utilise the best quality waterproofing solutions offered by Dr. Fixit. Sub-standard products will not last for long and will cause more problems for you.

You could also use the Dr. Fixit’s updated mobile application, a user friendly interface to find out what are the various options available to you, and in fact you can also get in touch with them on the contact details that are mentioned on the app itself.

If you enjoyed reading this article, do share it using the social media widgets at the top and subscribe to receive regular updates from Art Scene India

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Art News (Bangalore) - Reimagining: (Un)Reality and Space

Reimagining: (Un)Reality and Space curated by Nalini S Malaviya marks the official launch of Yepart.com. The exhibition features recent works by Debraj Goswami, Kalyan S Rathore, Maripelly Praveen Goud, Muktinath Mondal, Murali Cheeroth and Venugopal VG

The show opens on 19 Nov 2016 at Hatworks Boulevard, Cunningham Road, Bengaluru and continues till 17 Dec 2016.

Reimagining: (Un)Reality and Space

Observation, truth and materiality interweave to create alternative realities that occupy a realm which is corporeal, yet fictitious, clouding lines of physicality of dimensions. The plurality inherent in existing and functioning within these coordinates, challenge and inspire individuals to examine the intrinsic harmony and conflict embedded in such systems, and simultaneously imagine new spaces. Notions of time and space amidst variables construct fresh associations and connotations, where the resulting topography is a visually enriching landscape capturing points of dissonance and accord, shifts in reality, and reimagined spaces.

The artists' critical engagement with the curatorial premise reimagining (un)reality and space, results in interventions, which explore and question notions of time, space, reality and the subjective relativity that pervades through these dimensions. Multiple realities emerge from stresses of urban living, where observation and truth is skewed and dependent on other dynamics. Ideologies contort for material gains and govern the present and the future. Cognitive and sensory perceptions distort from an altered state of consciousness. The time and space thus occupied is unreal and fabricated as a spontaneous outcome, which is ungoverned by design.

There is an attempt to delve into conflicts, and examine the inherent precariousness and fragility entrenched in natural systems, which are impacted by consumerism and materialistic trends. Reimagining spaces create virtual maps of imaginary loci, introspective journeys in search of the self and enquiries on the 'now' form intriguing visual chronicles of contemporary concerns.

Debraj Goswami contemplates an alternative state of reality that exists in parallel, blurring the boundaries of factual and unreal, and creating distorted dreamlike states. Subconscious preoccupations dictate existence, to assume a truth that is probably fictional and appears surreal. The complexities of living ensure that perceptions of real, unreal and simulated become indistinct and a machine made robotic existence dominates. Past, present and future concerns manipulate sensory reality to form a convoluted sense of the real, and living in the moment becomes a figment of imagination in unusual and often humorous ways.

Kalyan S Rathore’s sculptures exist in a metaphysical context, where time and space are no longer linear entities but transcend corporeal boundaries. The repetition of the sculptural unit akin to fractals in the universe, construct forms that are non-representational and non-specific to natural features. Conceptually based, they explore a fluid reality, while attempting to negotiate a labyrinth that forms life’s journey. The quest for the spiritual and transcendental leads to an introspective process that pauses for self-reflection, while encountering chaos and conflict during the course.

Maripelly Praveen Goud extends the materiality of the print medium to create virtual contours and linear graphs that map imaginary loci and places. Relying on scrunching the paper as a means to initiate cathartic release, the process spontaneously creates dimensions beyond the surface of the plane. The accidental lines morph into unspecified shapes, forms and maps allowing multiple readings - the markings could be representations of metaphorical sites or subconscious points of reference. The material and the medium combine to form layers of meanings within the conceptual maps.

Muktinath Mondal focuses on ecological imbalance, a disrupted equilibrium - a direct result of human interventions. He paints a stark image - black canvases that point to a dark reality, a glimpse into a bleak future that interrogates the very existence and survival of living beings. An increasingly fragile eco-system disintegrates and vanishes as a materialistic world prevails. Time as a distant phenomenon assumes vital relevance, and its catastrophic fate becomes inevitable, unless the current variables are harmonised. The red highlights in the paintings form the primordial link, the essential connective tissue between the various species including mankind, and which innately determines their coexistence.

Murali Cheeroth examines the notion of time as a relative value, with its meaning and intent evolving and transfiguring as a quotient of consciousness, application and relevance. Engaging with the interplay of text, material, texture and aesthetics, the concept of time morphs into multiple meanings and discourses, which reflect the subjectivity of viewing and reading into the artwork. Expressing time as a function of cognitive, linguistic and visual interactions, its reading draws from multiple standpoints, ranging from the personal to the historical. His performative artwork relates to issues linked to microcosmic spaces, which are intimate, act as receptacles of memories and share an indispensable interrelationship with the larger environment.

Venugopal VG explores the dichotomy inherent in situations emerging from urban living, and portrays complexities and dilemmas of reality. Pictorial elements indicating human emotions, desires and relationships construct paradoxes that emphasize the fragility of urban reality. Manipulating and combining physical, emotional and spatial derivatives, the narratives that are created are constructed to create a transmuted reality that is derived from factual components. Identity, migration, adaptability, and transformation are some of the critical issues that explore existential crisis to form imagery which warp representations of reality.

The exhibition will be available online on www.yepart.com from 19th November 2016.

Do visit the exhibition and share your thoughts in the comments section below or write on nalini.indianart@gmail.com.

If you would like to interview the artists, review or cover the event on your blog/website, or for any other media enquiries, please get in touch on nalini.indianart@gmail.com/ naozar@yepart.com/ +91 98450 06644 

If you enjoyed reading this article, do share it using the social media widgets at the top and subscribe to receive regular updates from Art Scene India

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Art News: Gallery 9 launches in Bangalore with Serenity

Gallery 9 launches in Bangalore with 'Serenity', an art exhibition by renowned artists

Navrathan’s newly renamed art gallery, Gallery 9, is launching with an art exhibition by renowned artists on Friday 11th November, 2016. The title of the exhibition, Serenity, reflects the general theme of the works, highlighting inner strength in the face of the trials and tribulations of daily life. The lead image, of the Indian Feminine, illustrates this with her inner calm retaining exterior beauty; exemplified by the daily toil of village women multitasking in the fields and the domesticity of the home, children, nurturing, keeping body and soul together.

The 40 works also include abstracts from Bangalore’s newest artistic sensation, Andrew Paul. In a short space of 3 or 4 months of work, Andrew has already received extensive international recognition. His work, `Mighty My Saviour’ has recently been included in the Oxford Encyclopaedia of the Bible and the Arts, along with M. F. Husain’s `Mother Teresa’.

Andrew Paul

The Oxford Encyclopaedia of the Bible and the Arts, edited by Timothy Beal, published by Oxford University Press, 2015, page 378, discusses Andrew Paul’s painting `Mighty My Saviour’ in relation to M. F. Husain’s paintings of Mother Teresa. Husain’s paintings of the Mother are mostly faceless, but they are strongly evocative of the Madonna and the Pieta, where the child or the person being held in the lap is perhaps a representation of Christ.

The face in Paul’s painting is also hidden in agony, hair unkempt, blood streaming, eyes straining upwards, mouth agape like an open wound, the spiked crown of thorns, the ominous blue cross in the lower corner and a hand held up to the agonized face as though attempting to shut out something unspeakable. It is reminiscent of Munch’s scream. According to Paul the image appeared to him in a dream-vision following a charismatic retreat at Potta, Kerala.

Clara Joseph’s first book of poetry `The Face of the Other’ is published by the Interactive Press, Brisbane 2016. For the cover she chose another work by Andrew Paul, aptly titled `Redemption’. Richard Cohen’s review of this work strikes a chord and almost describes Paul’s `Saviour’, the awful predicament of a sensitive vulnerability at once broken and yet still hopeful. What comes through these enchanting words is a deep compassion, eyes open, bloodied, yet reaching out.

About the Exhibition ‘Serenity’

The pressures of society in the pursuit of success can often relegate the basic human necessities of introspection and tranquillity to a vague background. We are becoming hard-wired to the impatience of achieving increasingly more of the material world at the expense of essential communing with, and discovering, our soul, our inner self. We need to make time for ourselves and find a refuge within us for meditation and to reflect on our individual spirituality.

The present collection – serenity – suggests this space where the mind can communicate serenely with the soul. The signature image by Sachin Kharat reflects this need to look beyond ones individual desires for material consumption and discover the calm and tranquil which exists within us. His subject of the timeless Indian feminine combines with a palette which expresses the contemplative mysteries of the mind. The result is a soothing effect on the viewer’s senses, even if only for a brief moment in time.

Gallery 9 promises to break new ground with an outstanding programme of exhibitions, highlighting individual collectors and their collections as well as individual and group shows of established and emerging artists.

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Tribute: Remembering Yusuf Arakkal

Eminent artist Yusuf Arakkal breathed his last on Oct 4, 2016 in Bangalore. The following article was published in Times of India as my tribute to him.

Even though Yusuf Arakkal was suffering from ill health in the past few years, the news of his demise came as a shock. He had become increasingly frail and reticent in the last few months, a pale shadow of his flamboyant and extroverted self. Arakkal’s last exhibition, held earlier this year, was on portraits of several artists - a project that he had been working on for many years. That was also perhaps his last social appearance.

A significant name on the Indian and global art landscape, Arakkal had traversed miles in the course of his career. His haunting images with protagonists hovering haltingly in the depth of the shadows were dark and powerful. His tryst with harsh realities and chance encounters with the underprivileged and the oppressed created lifelong scars that continued to be translated on canvas. Yet, importantly, he painted not out of pity but in empathy, perhaps an effort to heal his own scars carried from years gone by. However, the sombre colours on his palette were in a sharp contrast to his own persona. Cheerful, stylish and a great conversationalist, Arakkal was vocal about his opinions and not afraid to go against the tide. He also wrote extensively for various newspapers and publications, raising concerns, sharing anecdotes and creating art awareness.

 

I remember him as a warm, generous person who was passionate about art and was one of those rare people who are committed to helping others - upcoming artists and writers, without any material expectations. He gave his heart and soul in every friendship and his one regret was that many a times he was let down by them.

The Christ series, which he had completed and hoped to show in Rome, could not materialise, nor has it been shown in Bangalore. His interpretation infused with elements from multiple sources - rituals and traditions of Kerala, his birthplace and his readings from mythology, epics and sacred texts from various religions, such as Christianity, Islam and Hinduism makes it special. Another book on murals and sculptures lies incomplete, with images collected but the text yet to be done.

His contribution to Indian art and the Bangalore art scene in particular is immeasurable. Rest in peace, for as Oscar Wilde said, “Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one’s head, and listen to silence. To have no yesterday, and no tomorrow. To forget time, to forget life, to be at peace.”

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Doll Festival: An Amalgamation of Art with Festive Traditions

Integrating art with festive traditions creates innovative and unique narratives, which also add a contemporary touch to traditional tableau, writes art consultant Nalini S Malaviya

Traditional rituals offer a great opportunity to reiterate customs and traditions, and help in bringing alive oral histories for the younger generation. The doll festival, Gombe Habba, which is held during Dussehra in Southern parts of India, involves displaying traditional and rare dolls, figurines, heirlooms, artefacts and toys on a tiered platform. The various arrangements in which the dolls are exhibited are unique to family customs but adopt creative modes of storytelling, while focusing on the décor as well. Traditional themes and mythological tales are popular motifs in building the tableau, but contemporary issues are also now becoming part of exhibits.

The doll festival with its rich plurality of artefacts is a wonderful example of the fine craft traditions in India, and many times involves sourcing dolls from across the length and breadth of the country – a practice which is valuable in giving a boost to indigenous crafts. The Gombe is a great way to build narratives around folk traditions and mythological characters and to revive traditional rituals and renew interest in age old crafts. Antique dolls, such as those that have been in families for generations add historicity and interest to the decorations. Therefore the Gombe can be an effective combination of art and craft, tradition and décor.

Some of the key elements involved in creating an outstanding display are creativity, the material such as dolls and toys in this case and the format of the exhibit. To form unusual and enchanting narratives and décor, art can be used to enhance the display and to add interest. For instance, contemporary art which is based on reinterpretation of Indian mythology and borrows from traditional motifs, or art which is adapted from folk and tribal arts can be used very effectively along with traditional dolls in the Gombe to create new and unusual vocabularies.

Similarly, contemporary statues and figurines that are based on traditional forms and motifs can be a great addition to the main exhibit. Two dimensional artwork in the form of canvas and silk paintings and tapestries can form the perfect backdrop to the exhibit and also be an integral element in the storytelling. Contemporary art which is based on religious iconography is also a value addition from a décor perspective and in creating inventive exhibits.

The storytelling in the tableaus narrate vignettes from the epics, Ramayana and Mahabharata, however, modern themes around urban issues pertaining to gender, environment, and water and natural resources are also being depicted these days. In portraying modern ills and concerns, contemporary art can augment and emphasize the theme and convey the message effectively, while covering large expanses with artwork.

It is important to rekindle awareness about traditional rituals and by adopting innovative measures one can renew interest in their significance, create innovative décor trends and encourage a celebratory atmosphere.

Published in Times Property, Bangalore 

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Art News: New Art Gallery Opens in Bangalore

Iconic portrait of renowned singer MS Subbulakshmi painted by MF Husain to be displayed at ‘Art Bengaluru’ by Navrathan’s Art Gallery

MF Husain’s iconic portrait of MS Subbulakshmi, the world renowned singer and foremost proponent of Carnatic music, will be displayed by India’s newest art gallery, Navrathan’s of Bangalore. Navrathan jewellers have been a familiar destination for Bangaloreans since 1954. The sign of the iconic `nine jewels’ – the nine auspicious planetary gems – has lit up 18 MG road and attracted a stream of clients eager to acquire their signature gold jewellery. The man behind the legendary success of Navrathan jewellers is Mr. Gautam Chand Bafna, a connoisseur of arts, who has now extended his patronage to include fine and decorative arts; modern and contemporary Indian paintings, European paintings, antiques as well as interior décor, period-style furniture, porcelain, glass, silver and sculpture.

The painting of MS Subbulakshmi will be displayed in Bangalore thanks to the efforts of Mr. Gautam. As a sponsor of Bangalore’s premier annual art event – Art Bengaluru, which launches on 19th August at UB City, Navrathan will unveil and showcase Husain’s portrait of `M S’ as Subbulakshmi was affectionately known, as the centrepiece of their display.

Portrait of a Legend

Navrathan’s Art Gallery presents portrait of MS Subbulakshmi painted by MF Husain at ‘Art Bengaluru 2016’

The monumental portrait, 6 ft x 4 ft, an acrylic on canvas depicts the virtuoso singer holding her famous tambura. She wears a deep red sari, a conspicuous bindi, nose stud, ear rings and her hair is adorned with jasmine flowers. Husain has captioned the portrait “Subbulakshmi” in Tamil and has also signed it in Tamil. The portrait was painted by Husain in a flash of inspiration, the way he remembered her, when he heard the news of her passing. At the time, the artist had a major exhibition of his work, which he dedicated to the singer, in Chennai, where the portrait was originally unveiled. At the time Husain said that when he once heard her sing, for two minutes “It was so divine. I can never forget it in my life-time”. He heard of her passing on 11th December 2004 and painted the portrait in a day in Dubai. When he travelled to Chennai a few days later, he brought the painting and displayed it himself as the focal point of his exhibition at the Lakshana Museum of Arts.

The Queen of Music

Subbulakshmi’s music in films made her nationally famous. However, her devotional songs created even greater fame in India and internationally. Her voice interpreted the compositions of the three greats of Carnatic music, Thyagaraja, Muthuswamy Dikshiter and Shyam Sastri. Mahatma Gandhi was moved to tears when she sang his favourite bhajan Vaishnava Jana To Tene Kahiye Je Peer Parayee Jaane Re. When she sang at the United Nations Assembly, the New York Times wrote that Westerners could understand her message though it was delivered in a different language. She sang before Queen Elizabeth at London’s Royal Albert Hall. In 1954 Subbulakshmi received the Padma Bhushan and in 1969 received the title of Sangeetha Kalanidhi. She was the first woman to be honoured by the Madras Music Academy. In 1974 she received the Magsaysay Award and in 1975 she received the Padma Vibhushan. In 1990 she was awarded the Indira Gandhi Award for national integration. In 1998 she became the first musician to be honoured with the Bharat Ratna.

The United Nations has issued a stamp to mark Subbulakshmi’s birth centenary, coinciding with the celebration of India’s 70th Independence Day on 15th August 2016.

Navrathan’s is honoured and privileged to display this superb portrait of one of India’s greatest singers by one of India’s greatest artists.

Contact Michael Ludgrove, Navrathan’s Art Consultant on +91 99725 97430 and Chirag Chopra on +91 99006 85028 for all enquiries

Navrathan’s Art Gallery

Navrathan’s has taken up 35,000 square feet over three floors at 39 MG Road, perhaps the largest such

Mr. Gautam Chand Bafna 

space in India. The familiar logo of Navrathan’s, a lotus with nine variously coloured petals, following the colours of the nine jewels, can now be seen above an impressive heritage facade building.

The second floor of this paradise for the discerning interior décor enthusiasts, houses Mr. Gautam’s latest venture, an art gallery. A state-of-the-art picture hanging system has been installed in a 3,000 sq. ft. picture gallery dedicated to exhibitions of paintings, photography and other interesting genres. A series of exhibitions is planned and will commence in September, and will include Masters as well as newly discovered talents; Photography and other categories such as rare books, maps, jewellery design and watches will also be featured.

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Interview: Albrecht Behmel - This is the Era of the Artist

In a discussion with Art Scene India, Albrecht Behmel, the well known German artist, novelist, historian and award-winning playwright shares his views on the art market, the future of art criticism and the relevance of marketing in the Internet age.

NM: How would you briefly describe the art scene in Germany?

AB: There is a lot of talent around here. Great people like Christian Awe with a unique vision. I love to follow careers such as his from street art to major creator. There are great art-dealers and collectors here, like Jenny Falckenberg and Frieder Burda.
So that side of the scene is healthy and well. Galleries are in trouble as everywhere else with the internet taking their place more and more every year. Just imagine what Google did in the last years to make all the museums of this world accessible online using big data. I know that personal relations are what keeps a gallery alive but I am not sure most of the galleries are aware of how massive the pressure will become.

NM: What inspires you as an artist?

AB: Two things: nature and the movies. I am a huge fan of both. I live in the country with my wife, two kids, a brother in law and a mother in law. It is brilliant when an extended family can live together in harmony. Nature is near, there is a lot of wild life. that inspires me. And I love the movies, so I did a series of super heroes whose outlines I filled with silhouettes of other heroes, monsters, villains, victims etc. That is fun! I especially love the Marvel Series and a Star Wars series I created. I can totally lose myself in these paintings. On another level I am inspired by colors that make me happy, powerful deep red, massive yellow or turquoise and so on.

NM: What is your take on art critics? Do you think their relevance is waning or on the rise in the contemporary context?

AB: Well, If you mean professional art critics, I am not sure they have much of a future in the era of social media. Instagram, Pinterest are such powerful platforms for artists to create their own tribes that I am not sure how traditional criticism can survive without major adaptation. Yet I don’t really see this happening. I am convinced that in the future they will lose much of their power to “fanboy99” who comes out of nowhere but manages to entertain better because he understands how the internet really works. Long articles in newspapers are surely not the way of this century.

NM: How important is it for artists to remain current on trends and stay updated on global markets in general?

AB: It is 100% vital to understand the market if you depend on the market, i.e. if you want to sell. Funnily, having said that, prices are not the main thing here at all but marketing is. I always study the latest developments, I go to as many art fairs as I can manage, I read a lot and I follow auctions. That doesn’t mean I have to change my work or my style. It means that I try to understand what makes other artists remarkable. There is so much to learn.

NM: What would you advise upcoming artists?

AB: Feel good about charging the right price, don’t undersell, and know your numbers! That’s about the only advice I can give because as far as the art is concerned there is so much talent out there, so much passion and innovation! This is the era of the artist. It has never been so easy to become a creator as it is today. Everything a young artist needs today is totally in reach, all the knowledge, the exposure, the materials - most of which is free! But if you want to make a living, or better if you want to thrive: make sure you are not cheap but expensive.

Albrecht was born in 1971, studied arts and humanities in Heidelberg and Berlin, Germany and founded his own painting technique The Magic of the Swarms in 2012. This style is also called abstrahistic because it merges figurative shapes into abstract forms. A frequent and generous donor to international charities, Albrecht has recently supported Evelina Children’s Hospital in London, Al Madad Foundation London, Dolphin Aid, Rotary Clubs and university clinics in Germany. Albrecht co-authored international bestselling books like “The Successful Kid” as well as 20 other titles, novels, non-fiction, games, etc. He lives in the German Black Forest not far from France and travels a lot. 

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