Thursday, 14 February 2019

Homage to Vishnu Wagh



विष्णू सुर्या वाघ यांनी केलेल्या मरणापूर्वीच्या काही सूचना

विशाल अभंग

१४ फेब्रुवारी २०१९
वाचन वेळ : ५ मिनिटं

कवी विष्णू सुर्या वाघ गेले. ते वाघासारखेच आपल्या मस्तीत जगले. गेली जवळपास अडीच वर्षं त्याच मस्तीत मृत्यूशी झुंज देत होते. त्यांचं जाणं फार अनपेक्षित नव्हतं, तरीही त्यांच्या लाखो चाहत्यांना त्यांचं जाणं चटका लावून जाणारंच होतं. त्यांच्या एका कवितेत त्यांनी त्यांची शेवटची इच्छा व्यक्त केलीय. ती एका अफाट माणसाची बेफाम कविता म्हणूनही वाचायलाच हवी.

विष्णू सुर्या वाघ गेली अडीच वर्षांपूर्वी मृत्यूचा उंबरठा पार करून पुन्हा परत आले होते. तेव्हापासून ते व्हिलचेअरवर होते. मृत्यूशी झुंज देत होते. कधी पणजी, कधी दिल्ली, कधी मुंबई, हॉस्पिटलच्या वाऱ्या सुरू होत्या. मृत्यूशी पाठशिवणीचा खेळ सुरू होता त्यांचा. पण जगण्यावरच्या प्रचंड प्रेमामुळे त्यांच्या चेहऱ्यावरचं निरागस हसू काही संपत नव्हतं.

पणजीच्या दोना पावल इथल्या मणिपाल हॉस्पिटलमधे ते गेली दोनेक महिने होते. आजारपण बळावत होतं.त्यांना याही परिस्थितीत दक्षिण आफ्रिकेत जायचं होतं. जोहान्सबर्गला, केप टाऊनला भेट द्यायची होती. त्यांच्या पत्नी अरुणा वाघांनी त्यांची तीही इच्छा पूर्ण केली. तिथेच वयाच्या फक्त ५३व्या वर्षी या अफाट प्रतिभेचा धनी असणाऱ्या कवीने शेवटचा श्वास घेतला.

विष्णूना हॉस्पिटलच्या चार भिंतीत मरायचंच नव्हतं. कोणत्याही भिंती त्यांना रोखूच शकणार नव्हत्या. `सुशेगाद` या त्यांच्या प्रसिद्ध काव्यसंग्रहात त्यांची एक कविता आहे, `मरण्यापूर्वीच्या काही सूचना` म्हणून. त्यात त्यांचं मनसोक्त जगण्याविषयीचं प्रेम शब्दाशब्दांतून व्यक्त झालंय. विष्णू सुर्या वाघ गेल्यानंतर आता खूप काही लिहून येईल त्यांच्याविषयी. पण ते काय रसायन होतं, हे समजून घ्यायचं असेल, तर वाचावीच लागेल अशी ही कविता

मरण्यापूर्वीच्या काही सूचना
सर्वप्रथम मला शिफ्ट करा दुसऱ्या हॉस्पिटलात
असं हॉस्पिटल –
जिथं स्मशानवत शांतता असणार नाही
जिथं औषधांचा वास येणार नाही
जिथं डॉक्टरांच्या चेहऱ्याला इस्त्री नसेल
आणि नर्सचं हसणंही रोबोटीक नसेल

हॉस्पिटलाच्या भिंतीना
मुळीच असून ये पांढरा रंग
बोलावून घ्या आशू आपटे अन् त्याच्या गँगला
घ्या चितारून मोलेचं घनदाट जंगल
मधूनच डुरकावताना दिसू दे एखादा गवा
किंवा या झाडावरून त्या झाडावर झेपावणारं
मातकट रंगाचं शेकरू

सुतकी भावनांचे मुखवटे घालून
हॉस्पिटलात येऊच नये नातेवाईंकांनी
किंबहुना नातेवाईकांना कळवूनच नका
एंट्री द्या फक्त मित्रांना
प्रत्येक विजिटरला हॉस्पिटलच्या खर्चाने
दारू मिळेल अशी व्यवस्था करा
उदबत्त्याविदबत्त्या नकाच लावू
प्रत्येकाला ओढायला लावा सिगारेट
मला द्या चार पाच झउरके
वॉर्डभर करा इतका धूर
की मृत्यूलाही
काही क्षण समोरचं काहीच दिसू नये

सक्तीची रजा देऊन
घरी पाठवा सर्व नर्सींना
जुन्या नव्या सर्व प्रेयसींना सांगावा धाडा
काळजी एवढीच घ्या
की त्यांचं टायमिंग क्लॅश होऊ नये

डॉक्टर म्हणून शक्यतो
कवींनाच ठेवा पूर्णवेळ बिनपगारी
नलेश सलाईनमधून थेंब थेंब निसर्ग पाजील
अरुण म्हणेलः कोसो मैल दूर आहे सर्जरी
केळुसकरने सिरिज टेकवताच झिनझिनाट
संभाच्या शाहिरीने झोपेची वाट
दिनकर म्हणेलः डोंगरीचा पिंपळ झडू लागला
खाटेवर वाघोबाही सडू लागला

सुऱ्या गाईल नदीवरची कविता
नि तरंगवत ठेवील सूरांच्या पाण्यावर
साहेबराव खिशात घालून घेऊन येईल क्वार्टर
फुटाणे म्हणतील लाल रक्त महाग आहे
फमु सांगतीलः देव आणि प्रकृती
यांचं काँबिनेशन असलेला
हा विचित्र वाघ आहे.

कवीच्या ट्रीटमेंटमुळे मी मेलोच
तर अंत्ययात्रेचा सगळा खर्च
सुधाभाईवर घालावा

येऊरला मोठ्ठी पार्टी करावी
माझा मृतदेह मध्ये ठेवून
डॅनिएलनं नॉनस्टॉप जोक्स सांगावे
रजाने नुस्त्या बोटांनीच चित्रं काढावीत अंगभर
सर्वांनी गावं नाचावं हसावं खिदळावं
खावं प्यावं झिंगावं पडावं कोसळावं

मला जाळू नये किंवा पुरू नये
फुलांच्या मुलायम हातांनी भिरकावून द्यावं
आभाळाच्या कॅनवासवर
तिथे आधीच असलेल्या तुकोबाने
हात पुढे करीत मला झेलून घ्यावं
नि एवढंच म्हणावं –
आपण जिवंत आहोत,
विठू कधीच मेला होता!

शेवटच्या पार्टीत झिंगून
प्रत्येकाने जायला निघावं
नि स्वतःच्या घराची वाटच विसरून जावं
मग साऱ्यांनीच
एकमेकांच्या अंगणात
मुक्या शब्दांची नक्षत्रं पेटवावी
काही तुक्यासाठी…
काही माझ्यासाठी!

विष्णू वाघांनी आपल्या आयुष्याचा फार सुंदर काळ ज्यांच्यासोबत घालवला असे सगळेच कवीमित्र या कवितेत आलेत. त्यांच्याइतकं नाही, तरीही मनसोक्त जगणारे. त्यात रामदास फुटाणे, फ. मुं. शिंदे, नलेश पाटील, महेश केळुसकर, साहेबराव ठाणगे, शाहीर संभाजी भगत, अरुण म्हात्रे, दिनकर जोशी अशा त्यांच्या बैठकीतल्या कवींची सोबत त्यांना हवीय. गोव्यातल्या मोलेमधलं जंगल चितारण्यासाठी त्यांना कोकणातले चित्रकार आशुतोष आपटे हवे आहेत. ठाण्यातल्या येऊरला पार्टी देण्यासाठी माजी नगरसेवक सुधाकर चव्हाण आहेत. शिवाय चव्हाणांच्या बैठकीतले डॅनियल जोक सांगायला हवे आहेत. त्यात रजा असा उल्लेख आहे, ते जागतिक कीर्तीचे महान चित्रकार रझा असावेत.

शिवाय संत तुकाराम आहेतच. विष्णू वाघ कवी म्हणून तुकोबांना सोबत घेऊनच लिहित राहिले. त्यांचं एक नाटकच आहे, तुका अभंग अभंग. तुकोबांसारखंच अभंग राहावं, हीच कवी म्हणून त्यांची शेवटची इच्छा असावी. मराठी आणि कोकणी पुढची अनेक वर्षं विष्णूंना विसरू शकणार नाही. त्यांची राजकारणी म्हणून भूषवलेली पदं कुणाच्या लक्षात राहणार नाहीत. पण त्यांची कविता अभंगच राहील. ती कविता आणि त्या कवितेने दिलेली खुद्दारी हीच त्यांची ओळख होती.

Sunday, 3 February 2019

“ I don’t think about Art when I am working. I try to think about my Life.” - Jean Michel Basquiat (American Artist)

The above lines are what each & every artist all over the globe can relate to & agree even more. All artists whether dead or alive had or have this in their mind; maybe sub-consciously, while they were or are making any art piece. Their life, culture, upbringing, beliefs, eating habits, body language etc.; each & everything are some way depicted in their work. The artwork/paintings, right from those on various cave walls ages ago up to the colorful canvases, sculptures & all the other art categories if studied carefully depict the gradual evolution of that respective stream art.

While art has its own language, I firmly believe that it does get modified depending on the time/era it is used in. If I speak of it today it sums up in the term Contemporary Art, that is seen everywhere these days. Whether you talk of Italy, Canada, China, Japan, India or any other place the most common thread/color/medium all the artist come up to is Contemporary Art.

I belong to a creative field where we believe anything & everything is to be expressed & it can be expressed. I have seen the society changing from “Women come below Men” to “Gender Equality where men also are seen supporting Feminism” globally. Every transition in the society comes up like a trauma for the people witnessing this transition. This is what the artists try to portray through their work.



As our Indian society slowly started westernizing now & also while it was forced to change during the British rule, artists had very less freedom & were criticized for all they made too. This continues even today. Contemporary artists are aware of it & yet are increasing day by day. While our western counterparts have learnt from their mistakes & now there are quite a number of people who really appreciate Contemporary Art & respect the artists even more. Personally speaking Contemporary art is an ice-breaker for those aspects of the society that I conveniently shut my eyes to.

The artists with their art work create amazing sensory alarms that force all my senses to wake up in full attention.

Example: James Turrell’s work installed in Guggenheim (2013)



Their artworks actually embed meaning in materials directly or indirectly, that since my childhood were taught as non-living things, things that basically mean nothing & make no difference. But, their use in various art works means differently & is often the most important ingredient as well.

Example: Kara Walker’s Sugar Sphinx in Domino sugar factory in Brooklyn (2014)




The work of Eric Gregory Powell called Tomorrow (The collection of Ullen’s Center for Contemporary Art, 2013) is what I call, an amazing slap right across the face of those who preach that one has to be under control at all times & need to lead a life that is acceptable to the society. But, what about tomorrow? Will you see it? What about your dreams? Who will fulfil them, when & how?

Example: Eric Gregory Powell called Tomorrow (2014)


The universal fact about being human is never ridiculing someone for their flaws. Whether the Indian or Western Contemporary Artists both know that their respective society, culture or belief system is absolutely blind to some specific points. That is why they bring that under spotlight & end up being criticized for it the most. India is known for its diversity & thus it becomes more difficult for artists here. If a certain artwork is welcomed with open arms by one culture, it is equally or at times even hated by another. The virtues & beliefs of each culture/religion in India are very different though they all teach the same values. Thus it becomes difficult for Contemporary Artists to actually come up with something the entire loves. 




I conclude by saying that Indian or Western whichever route you choose to view Contemporary Art, it is most important to remember that first comes YOU-The Viewer. If you as a person understand, disagree, like or dislike it, the society eventually will do the same. 

You are the society & the society is by you.



Vidhi Joshi 

Art Writer Team

2019 @Art Blogazine 


(PS: This article is not written for commercial use.)



Thursday, 24 January 2019

Arario Gallery @India art fair


Tuesday, 22 January 2019

POSTER : NGMA MUMBAI

Inside the Empty Box
Presented by: National Gallery of Modern Art, Mumbai, Ministry of Culture,
Govt. of India in collaboration with Bodhana Arts and Research Foundation 


Opening on Friday, 08th February, 2019 at 5:30 PM at NGMA, Mumbai 

Date: Open for Public from 09th February, 2019 to 08th March, 2019 
Timing: 11:00 am to 6:00 pm Closed on Mondays & National Holidays

Wednesday, 16 January 2019

PIN POSTER : ART GATE GALLERY


Pratap Morey’s second solo exhibition at TARQ and our exhibition for Mumbai Gallery Weekend 2019.

It is with great pleasure that I write to you about our next exhibition Concrete Ciphers—Pratap Morey’s second solo exhibition at TARQ and our exhibition for Mumbai Gallery Weekend 2019. 

In this exhibition, Pratap continues to explore his preoccupations with the constantly morphing artificial geography of urban spaces. He consciously moves away from the digital image, to work only with lines, be it in the form of drawings, relief sculpture and painting. His imagery focuses on industrial development, specifically the constant unorganized bombardment of cities in the name of redevelopment, which rapidly engulfs the neutral and vacant spaces available.

Please find attached the press release and invite for the show. It would be wonderful to have you join us for the preview which will be at TARQ on Wednesday, January 16, 6.30 pm onward. 

A few select works that will be part of the exhibition can be viewed by clicking hereIf you do want particular images in High resolution, let me know, and I will send them across as soon as possible.

In case you need further information, please do not hesitate to get in touch with me. Looking forward to hearing from you soon, and if you're in town, I hope to see you at the preview!

Thursday, 27 December 2018

Pisurwo Jitendra Suralkar is a character. A character that is defined by a stubborn triumph in art.

PISURWO 
SOLO exhibition 
Jehangir art gallery 
1st jan to 7th Jan 2019
ANAMIKA अनामिका 



The name Anamika (female) comes from the Sanskrit word which means, "nameless." Sanskrit word which means, "person without name  ring finger (finger between middle finger and little finger) is called anamika in sanskrit." Sanskrit word which means, "a beautiful lady having no name.." Hindi word which means, "nameless or without description."
Also suggested is name an Indian word which means, "the ring finger." Hindi word which means, "ring finger." Sanskrit word which means, "The Powerful Ring Finger,The nameless finger. Many cultures  avoided the true name of a powerful entity, and called it indirectly or called it nameless.."

Pisurwo Jitendra Suralkar is a character.  A character that is defined by a stubborn triumph in art.  He incarnates practices not as inspiration or technical sycophancy but rather as ideological exercises in conversation with the artists Hussain & Picasso.  Art History and its tango with Indian contemporary artists suffers a bias of duality.  One that arises from its own lethargy to remain accessible from its occidental perch ,  serious attempts to include history of art from India began in the last decade of the 20th century and has being ongoing in the 21st century once India's promised the world the possibility of it being an economic power house.  Syllabuses at art schools in India have a disdain to catching up and thus artists disregard art history as an engagement not worthy of vocation fearing its inaccessibility.  Translations are extremely rare and thus many pedagogical exercises in state funded redundant.  Pisurwo does not come from the Sir JJ School of Art,  he studied on the plateau above the Ajanta Caves at the Khiroda College of Arts,  Gulzar Gawali , surrealist painter was his teacher.  Shifting to Bombay in the year 2000 as a painter he pursued his practice beginning with the pavement art gallery at Kala Ghoda to mystical meetings with MF Hussain.  A practice that is marked by his mastery of stroke and an intelligence with colour.  At the Gufa Gallery Pisurwo confronts the artist to whom he is compared but not the one he sees himself ape, rather he affirms an incarnation in attitude ,  ideology and stroke.  Pisurwo is a living legend and among the subaltern rebels to art history and the ways of its gathering.  

Sumesh Sharma 
Bombay,  2018 










TO LIVE TO PAINT TO LIVE
Looking at Pisurwo’s work, the first thing we notice is the omnipresence of the human face. The more naturalistic works and the portraits, practiced by the artist since the beginning of his career until now - and probably forever - give us the entering point in his world. 



His way of engaging with the portrait, which could be wrongfully read as a classical attitude, is very much influenced by the years passed as a street portraitist, by all the constraints and the context of the job: the drawing has to be fast, the result must be resembling and satisfying for the subject/buyer. There is no study of the psychology of the character, no gaze through his mind and soul, just his blank appearance - just Pisurwo’s swift and secure lines. Nothing but pure drawing. And when this manner is freed by those constrains, it becomes the medium for the real content of his portraits and naturalistic sketches: his relationship with the characters. His wife, his children, his family, the professors that helped him, the painters that inspired him, everyone is there in a familiar and intimate universe held by Pisurwo’s care and will to honour them. His numerous sketchbooks are filled to the brim with drawings, faces, bodies, and always his signature, that he marks on the paper as a real creative act, along with the date and, strangely enough, the time at which the sketch was taken. This seemingly irrelevant detail demonstrates that for Pisurwo drawing is more then the simple registration of world around him, it is the immediate translation of that world, the almost instantaneous transcription of forms. Simply put, sketching has become one with the act of seeing, his own way of perceiving reality. 

In his studio near the Ajanta caves, portraits are not the only Pisurwo’s occupation. Next to this mystical site, Pisurwo seems to be visited be all sorts of images, or even, of spirits. Yakshinis and yakshas, kings and queens and mythological figures invade his canvases in a dreamlike state that echoes cubist aesthetics and M.F.Hussein work. An immense cosmogony unravels before us as we witness the spirits suffer, rejoice, engage in dialogue or in sexual acts; we see them merge and overcome duality. As an obsessively repeated facial pattern, they saturate the page or the canvas, leaving nothing except their presence for us to see. From the smallest drawing to the largest canvas, this horror vacui could come from his relation and incessant observation of the Ajanta cave paintings themselves, evolved and transformed through Pisurwo’s sensibility. This overflowing of signs, lines, marks and gestures is profoundly characteristic of his work. Plates, family photos, house walls, insignificant objects, leafs, stones and even a dead cockroach, nothing is spared, everything is a suitable support for his magmatic creativity: an all-over that could cover hills, mountains, us all and the entire world. 

A personal quest for meaning that, by engulfing everything around him, engages us in a journey beyond reality itself.

Painting as breathing,
drawing as living,
art as a way of being.

- Text by Niccolò Moscatelli (Paris France)


PISURWO 
SOLO exhibition 
Jehangir art gallery 
1st jan to 7th Jan 2019
ANAMIKA अनामिका 

Wednesday, 19 December 2018

The First Death Anniversary Pankaja JK

1972 + 2017

Pankaja JK
( Founder of Art Blogazine.com & Art Writer)




from
Tathi Premchand

Tusher Jog (1966-2018)

Image source  fb: Chemould Prescott Road


Tushar Joag was born in Mumbai in 1966. He graduated in Sculpture from Sir J. J. School of Arts in 1988, which was followed by a Masters in Sculpture at the Faculty of Fine Arts, M. S. U Baroda(1988-1990), a Fellowship at the
Kanoria Centre for Arts, Ahmedabad, and an artist-residency at Rijksakademie in Amsterdam (1998-2000). Joag was one of the co-founders of the Bombay-based artist- collective, Open Circle that sought to engage with contemporary socio-political issues via integration of theory and practice. He has convened/curated international events, screenings and exhibitions
individually and in collaboration. He has also participated in many prominent national as well as international shows. Currently, he is founding
faculty and Associate Professor, Department of Art Design and Performing Arts, School of Humanities and Social Sciences, Shiv Nadar University.
He currently lives and works in Delhi.


text : https://www.mojarto.com/

Thursday, 13 December 2018

PIN POSTER MUMBAI :Shine Shivan

Shine Shivan will open 5 th solo show at Sakshi Art gallery for Mumbai Gallery Weekend 2019.


Monday, 3 December 2018

PIN POSTER : NGMA MUMBAI


With great pleasure, the National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India in collaboration with The Guild Art Gallery, cordially invites you to the inauguration of the exhibition  "The Earth's Heart, Torn Out' Navjot Altaf: A Life in Art". This Retrospective has been curated by Ms.Nancy Adajania. It will be jointly inaugurated by Shri Adwaita Charan Garanayak, Director General, National Gallery of Modern Art and Ms. Roshan Shahani, Art Critic on Tuesday11th December, 2018 at 5:30 PM.

PIN POSTER : Delhi


Sunday, 2 December 2018

Story from McLeod Ganj / GNOSIS - 2018 at Jehangir Art Gallery, Open at 11th Dec 2018

Does Buddhism and creativity have anything in common? May be, Yes. Buddhism is all about exploring self and attaining the power of mind over body, self realization and self- control. Creativity adopts or follows some methods of Buddhism, where in creator becomes meditative as he goes in creating and concentrating on exploring the depth of theme, thus, gaining a meditative hold over the physical appearance of the painting. Both, Buddhism and Creativity, cultivate our real and cryptic nature.




There is rise of ‘Consciousness’ in both. Meditation is not an easy process and when you sit to meditate you have more diversions of thought than ever before; there is not a single moment when you feel stable at soul. It is probing into unpredictable nature. Creativity follows same ebb of finding stability amongst chaos and move with the tranquil flow.

Artist Umakant has been working on the concepts and figures of the Buddha since last many years. Gnosis/ Bhikus is one further step in his creation of thought involving Buddha and Buddhism. . Here he directly paints the representatives of the Buddha- the Monks. Along with Dalai Lama, there are novice monks. We find that these novice monks’ expressions are not serene and meditative but seem to be at the infantile stage of becoming Monks, they have childish innocence on their face. They are allowed to explore their physical world and with the aid of Buddhist preaching they slowly develop self awareness.

Process of creativity is like these novice monks, a process of becoming self aware and breaking free from of influence from others. Without imposing grueling knowledge and letting them be of their age; this natural way of growing and side-by-side acquiring knowledge in a systematic way would turn them into serene and self-controlled Monks.

To show this initial stage of proceeding to be a true monks, Umakant has made use of colorful background and not as expected of Buddhism (and taken for granted) the association of the subtle shades. The innocence and radiance of novice monks is reverberated in these colors. These photographic style representations have characteristic colorful abstract backgrounds, devoid of figurative, mysterious mist.  


Lastly, not to ignore the painting of The Dalai Lama who displays courage and humility. Like him artist should also have both. Courage to discard all that which is troublesome and hurdle in finding inner vision. Humility, a spiritual nature to accept criticism without disquiet and gain highest level of spirituality.  

These paintings are unique in the sense that the images are well-known but they are metaphoric representation of real creativity and shows us that path to spiritual growth; be it by following Buddhism as by Buddhist monks or by being creative person. The path is difficult and main hurdle is mind and soul and development of self awareness. Self awareness by Monks or by artist, would surely lead to spiritual upliftment. The show is worth watching as imparting knowledge through visual means.




- by Pankaja JK 
2016



(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency  and online social media, please share )

Sunday, 11 November 2018

Zara

here is my take on tree-killing by zara. share widely for possible effect


Thursday, 8 November 2018

Jehangir Art Gallery : 13th Nov 2018



Wednesday, 7 November 2018

Behold the Honeycomb by Likla Lall


Behold the Honeycomb; Nature’s flawless design. Each hexagon is impeccable in itself, and at the same time, a part of something grander. Look closer and you will see that within each perfect cell there is a unique world buzzing with a life of its own.
Sudhir Patwardhan at Honeycomb group show Jehangir Art Gallery

Here you see Santosh Kalbande at work. He is holding a matchstick; to him this matchstick is the basis of all representation. He plants his matchstick in ply and out blossoms an artistic symbolism of the male and the female. Form and geometric shape are born from this artistic union in a repetition that inspires, in the viewer, a meditative state of mind.


And here sits another Nilesh Shilkar within his honeyed cell, equally obsessed with cells and mutation. Liberated by minimalism, he punctures the paper carefully with Braille-like pinpricks of three-dimensional form, in an exploration of the very evolution of the Universe.




Over here is Vinita Dasgupta, an artist who looks at life like pieces of a puzzle. Each colour, texture and shape takes hold of her imagination. Memory, feelings and impressions come together in careful folds and create layer after layer of untold stories. You may have seen and admired her works over the last six years at the Indian Art Fair in Delhi, but this year she promises something new.
Kumar Ranjan is a man that misses home. He now lives in a city that seems intent on suffocating him. Every now and then, he escapes into the clear blue skies and green jungles of his ancestors. The memory stays with him, and in bold strokes he captures them on jute canvas.

Now consider these two artists, Srabani Sarkar and a Tushar Potdar, each peering closely at the world around them. She watches the socio-economic currents that rush past her, and finds meaning in woodcut, printing powerful and undeniable images. He takes the everyday object and turns them into something extraordinary upon his canvas. And here are two that know the importance of blank spaces. 

Raj Bhandare from Goa


While Raj Bhandare transforms scrap metal into something spiritual in experiments that involve the wilful immersion of beautifully crafted four by four feet metal-works in the ocean for three months, Vishal Pawar proves dexterous with his use of charcoal; but both know the depth that lies between two lines.

And finally, here is Tathi Premchand, the man who brought them all together. His obsession with variation transcended his art and clambered into his role as Artist & curator. He looked at each cell and saw the soul within. He displays a special collection of thirty works created over a period of ten years created more than ten thousand drawings.

Here is Honeycomb, a glimpse into the ever changing retro-scope of the lives of nine artists. Enjoy the art works of Tathi Premchand, Raj Bhandare, Santosh Kalbande, Nilesh Shilkar, Vinita Dasgupta, Srabani Sarkar, Kumar Ranjan, Tushar Potdar and Vishal Pawar as they travel through the cities of Delhi, Mumbai, Kolkata, Goa, Ratnagiri and more.


by Likla Lall

Art Writer & Researcher 2018/Mumbai 

HONEYCOMB
MUMBAI +DELHI + KOLKATA + GOA + RATANAGIRI
GROUP SHOW

You are invited for the grand opening of HONYCOMB, A group show by 9 Artists at Jehangir Art Gallery,
Tathi Premchand I Raj Bhandare I Santosh Kalbande I Nilesh Shilkar I Vinita Dasgupta I
Srabani Sarkar I Kumar Ranjan I Tushar Potdar I Vishal Pawar
13th November 2018 : Exhibition open at 4pm on
Exhibition Date : 13th to 19th November 2018 Time: 11am to 7pm
Jehangir Art Gallery Auditorium Hall
161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001, India.



Saturday, 3 November 2018

PIN POSTER : NEW DELHI

Satarupa bhattacharya

The Looking Glass emphasises on the human conditions of interaction between the self and the desired self - Satarupa Bhattacharya

The Looking Glass is strongly inspired by the famous Lewis Carroll’s Alice in Wonderland, and, so, the name reflects on the second book, Through the Looking Glass. 

Alice’s journey is a journey of self-reflection where she finds herself immersed in various aesthetic compositions. Every character is a reflection of her inner desires, where she is constantly engaging her audience with her self-awareness. 

The subconscious, conscious, and the projected self are intersecting factors in an individual at every moment of time and to be able to clearly visualise this for an audience is to bring the interaction with the self in the public. So to start with, The Looking Glass emphasises on the human conditions of interaction between the self and the desired self. Here, the notion of human condition is grounded on history, politics, and society as we have witnessed them in our collective journey. Therefore, Varnita Sethi, Mahhima Bhayanna, and Mahmood Ahmad help recreate this essential dialogue with their viewers in this hope that their viewers would engage with the auto-narrative in an urban visual space.
(Mahmood Ahmad  l Mahhima Bhayanna l Varnita Sethi )


The show is being held at a garage space in a residential area in New Delhi with the purpose of looking at the deep recesses of architecture that engulfs our tendencies to travel between time, space, and events. This is further enhanced in the works of Varnita Sethi, who puts herself on her canvas by projecting her desire to self-pleasurise. Sethis’s sexuality reminds us of Alice’s budding desires that she visualises in the Mad Hatter. The Mad Hatter’s inane interactions are emphatic of life and the several sexual self-dialogues convoluted in language and advices to Alice. Sethi’s works gives us a glimpse to her Mad Hatter through bold colours and strong strokes bringing out the woods of her buried desires. Her work comfortably interacts with a larger audience. 


Mahhima Bhayanna takes this self-dialogue to a realm of intricacies as she weaves her miniature and calligraphy techniques to that of the abstract form. Bhayanna’s works bring forth her desire to reflect collectively through her meditative space reminding us of the rabbit running late that led Alice to jump into a hole. This intense desire to collect all pieces of time and purpose is a conscious dialogue in our current moment. It is not of crisis, but of addressing that which we engage with everyday. Bhayanna’s works display her dialogues with her self and her desired self that intends to engage her audience in her delicate and gentle strokes that Alice’s rabbit embodies and, yet, does not. Mahmood Ahmad adds his virile dreams to our narrative’s purpose of directly engaging with our subconscious visual space. He surprises his meditation with his boldness in directly addressing his journey. His charcoal sketches remind us of Alice’s colourful dream in an alternative urban visualised context. In his works, his dreams are lucid and he wants his audience to visit his wonderland. 
All in all, The Looking Glass hopes to engage with all our Alice’s wonderland and, ergo, lends us a mirror to reflect upon. 


Satarupa bhattacharya


Art Writer- New Delhi


Wednesday, 31 October 2018

A Secret Private Museum Initiated Jogen Chowdhury's Rare Works

Sharing an important news from the art world a SECRET MUSEUM initiated by artist JOGEN CHAUDHRY is on its way to open end of the year Priyasri Patodia is sitting in Jogen’s private 3 floor museum in Kolkata which will be showing his works from his days in Paris pre Paris post Paris and his rare works including academic   years his first water color his first cross hatch etc.

Priyasri Patodia of Priyasri Art Gallery will be Associated with this museum closely. This museum will open to public hopefully by end of this year. Why don’t others master  artist initiate private museums so the rare pieces of heritage is available to masses and not to selected few who have the pockets. Artist imitated museums are more common in developed countries and we are happy many private collectors are also following suit. Art can cannot be possessed by anyone people buy them pass them on to their heirs who may not treasure them.

The anonymous collectors don’t even ensure the destiny of the Art on other occasions immediate families of artists fight for possessions of these priceless pieces which lead to secret sales and the fate of the masterpiece is uncertain. Must say Jogen Chowdhury has had vision to make this museum with his rare works which be governed by a group of trustees ensuring that the works live for posterity. Kudos. 




Yogisha Motla
(on behalf of Priyasri Patodia)
 
P R I Y A S R I  A R T G A L L E R Y
42 Madhuli
4th Floor
Shiv Sagar Estate
Next to Poonam Chamber
Dr Annie Besant Road
Worli
Mumbai 400018
Tel/Fax 022 24947673
+91 9323582303
priyasriartgallery@gmail.com,artgallery42@gmail.com,www.gallerypriyasri.com

AQ@Priyasri-The Artist Studio
10th Floor, Ramakrishna Chambers,
Productivity Road, Alkapuri. Vadodara 390007. Tel 0265 2333587 ; 2320053

Through his career as an artist, Sanjay has inspired a deeper understanding of the world and its wildlife


Sanjay Prajapati, is a contemporary Indian artist, lives and works in Baroda.
Sanjay Prajapati is a painter known nationally for his large, dramatic portrayals of iconic wildlife. He grew up in a village which is surrounded by jungles and wildlife in its natural habitat.  His deep passion, knowledge of wildlife and unwavering commitment to conservation continues to inspire.
Artist : Sanjay Prajapati


Through his career as an artist, Sanjay has inspired a deeper understanding of the world and its wildlife, encouraging successful conservation efforts and awareness of endangered species and their habitats. Travelling across the India, for his love of photography he seeks inspiration for his art work, Sanjay has utilized these opportunities to research wildlife and to learn about associated conservation challenges at the local, regional, and national levels. Through his career, in artwork  Sanjay has developed effective ways to implement and support conservation programs and is utilizing his imagery skills to promote a message of wildlife preservation and to initiate real change. 

 Today, Sanjay’s work is admired and collected by prominent politicians, entertainers, business leaders and art collectors. His work can be found in private collections, corporate offices, Art Galleries, & Hotels in India. Sanjay’s works are displayed in important museums, corporate and private collections and has appeared in numerous prestigious venues.




About the Works

Cultural Background is a phrase broadly discussed by E.H. Gombrich. He stated that an artist's artistic expression is greatly influenced by his cultural background and the environment he grew up as a child. If one looks at the paintings of Sanjay Prajapati he can find true connotation of Gombrich's idea. As a child he grew up in a village which is surrounded by jungle and wildlife.  His childhood brought him a prospect of close observation of the animal world, which developed love

and sympathy for the wild animals in him. Later he travelled in different forests in India and also volunteered anti poaching activities. His art practice also depicts intimate understanding and relation of the flora and fauna.


Today he has migrated from the village to an urban life but his village reminiscence works as a source of inspiration in the subject of his paintings. Sanjay is keen to bring out the beauty of nature and wild life on his canvas. His paintings carry a sense of photo realism because he believes that beauty should be represented as it is observed in nature. He painted wild animals in their natural habitat and mood. Wild animals are ferocious but they follow a natural law. They fight only for the

need of something either for food or for control over territories. The uncivilized world is more beautiful, peaceful and enjoyable than to get scared of.


This exhibition named 'Exquisiteness of the Untamed' displays a body of work, which reflects sanjay's own understanding of nature and wildlife. The paintings depict untamed animals in their regular activities and natural behavior in their own terrain.  He has used strong, sharp and bold brushstrokes and bright natural colours to reach to his desired visuals.


Art Gate Gallery
Solo show 1st Nov to7th Nov 2018