Saturday, 9 November 2019

HUMAN -Daily living conditions - Events / Struggles of human beings / human's encroachment on nature...


George Orwell, the eminent author, said that true politics lies in the statement which differentiates between art and politics'. However, the development of art is a political and social situation embedded in a particular time. Man has assumed that he is different and superior and that his brain is more powerful than other animals. Also, industrial revolution and modernity have apparently brought humankind to the center of the creation.


In the last few decades, the process of globalization has only added to this. The immense advancement in information technology has led to the fragmentation of human persona. The uproar in the community has increased; competitive jealousy has led to increments in violence. Gradually, the man has become more self-centred.

Today's man competes, fights, quarrels, and even ends up on occasion in a race for the maximum benefit of himself. In these trying times, the culture of the civilization stands the risk of annihilation and the human being is turning into a mere animal. 

Considering different aspects of this animal, the inhuman culture of today's modern-day man and the nurturing spirit of him are on the rise. All of this is affecting the life of the human, and it is certain that the result will be the loss of a human being. Many forms of violence stand before us in view of the events that take place in our society.  As a society we are becoming more and more violent.
Artist : Vikrant Bhise 

My pictures is my response to this increasing violence. Daily living conditions - Events / Struggles of human beings / human's  encroachment on nature / Untouchability and various forms of untouchability  in the ongoing society - racism / sexual harassment on women  /  questions of LGBTQ  / farmers suicides/ questions of marginal communities and  migrants, poverty all these various issues in our society and the human who is at the centre of it constantly upsets me. The rapidly changing society and the changing forms of violence make me uncomfortable. It disturbs the artists inside me. A painter always speaks about his times through his paintings. Through this series I have attempted to discover forms of violence and evolution of today’s Human.  the image of today’s Human and his evolution.


Vikrant Bhise
Solo show 
12-18th Jehangir Art Gallery

Tuesday, 5 November 2019

PIN POSTER : Jehangir Art Gallery.

Jehangir Art Gallery is an art gallery in Mumbai. It was founded by Sir Cowasji Jehangir at the urging of K. K. Hebbar and Homi Bhabha. It was built in 1952. Managed by the Committee of Management, the entire cost of this mansion was donated by Cowasji Jehangir.

PIN POSTER : Jehangir Art Gallery.

Anil naik is an alumnus of Sir j.j. School of art, wherein he stood first class first in Maharashtra state and was awarded the gold medal in 1981. He was awarded the fellowship in j.j.school of art.

Saturday, 26 October 2019

NIPPON SOLO SHOW- BY Vrushali Joshi 2019

Some non-leaving objects from everyday life tend to become a fragment of my life. Each of these objects is wrapped in either memories or stories. They add minute and important concepts in my life directly and indirectly. These objects become alive and accompany to me at different point in time with their contexts.



 I bring them on paper using water colors. The fact that, ‘water is essential compound for all the range of organisms’ make me feel captivated by water colors. My attempt to render life to non-living objects is through the medium of watercolors to breathe life into these inanimate objects, just as 'water' is essential for the survival of all the lives great and small on the planet Earth.
Recent work by Vrushali Joshi




NIPPON GALLERY
Address: Deval Chambers 30/32, 2nd Floor, Flora Fountain, 2, Nanabhai Ln, Kala Ghoda, Fort, Mumbai, Maharashtra 400001

Wednesday, 23 October 2019

I am not new...But i want new....Moumita Sarkar

Art is a language where an interactive dialogue occurs between me and my creations.It enforce me to act spontaneously to express myself. Though art is a medium and it has it's own language to express but that language should be visually and conceptually clear to the society.


t provokes the intellectualize of human beings.It reflect myself as an expressionist who maintained each and every split of seconds to disclose myself through distortion ,exaggeration, primitive and fantasy.It is an artistic style in which I attempt to depict my works which is not an objective reality but rather the subjective

 I presume myself as a hypocrite which gets revealed in my work and I grabbed the whole amount of essence that begins and I'm graceful to what I snatch myself.My anxiety provokes me to create and destroy something.Beside this when scratches and it squeezed to get damaged.Then sometimes when I perceived the complete vision of my future,I glimpsed the fatal end of my life.so I'm presumed to be a ethologist.

 After the whole drawback when I gain an eternal power it brings a change in my gesture like which holds the earth very firmly and close to my heart completely when I draw to Express my sensations it creates the touch of fluidity




Moumita Sarkar
BFA.MFA

Visva-Bharati University in Santiniketan, West Bengal

NGMA - MUMBAI

Director General’s Note We are honoured to host Santati, an exposition that is a tribute to 150 years of Mahatma Gandhi, through art. Santati aims to interpret Gandhi’s ideas through minds engaged in design, art, architecture, textiles and literature. Through their works, they seek to keep alive and spread the great visionary’s timeless ideas of one love, one truth, one world. In this first of its kind coming together, Santati sends out a pertinent message to a world seeking answers for its dilapidating environment and crumbling systems.

 The participants intend to amalgamate the philosophy of Mahatma Gandhi with weaving, architecture, canvases and installations to portray its progressive and malleable nature. Their works delve into a mind that has inspired minds across the world for generations. I would like to congratulate Ms.Lavina Baldota, Director, AbherajBaldota Foundation, for collaboratingwith the National Gallery of Modern Art (NGMA), Mumbai to put up a stupendous exhibition on such a momentous occasion.

I also take this opportunity to thank all the individuals and institutions that have come together to pay a fitting tribute to Gandhiji. May I also mention here that the NGMA has put up masterpieces from its enviable collection to commemorate the occasion.

I would also wish to specially thank Shri Kishore Jhunjhunwala – a collector of Gandhi memorabilia, numismatist and a philatelist par excellence – for loaning his priceless Gandhian collection for this exhibition. I would also like to appreciate the sincere efforts of Shri Vilas Shinde, Chairperson, Advisory Committee of NGMA, Mumbai,

Professor Vishwanath D. Sable, Dean, Sir J. J. School of Art, Mumbai and Ms.Anita Rupavataram, Director, NGMA, Mumbai and the entire NGMA team for their tireless efforts and perseverance, without which this exhitbition would not have been possible. I wish this exhibition all the success. Adwaita Charan Garanayak Director General National Gallery of Modern Art

Wednesday, 16 October 2019

Between the Hope and Fear- Nitin Arun Kulkarni


Visual art has the strength of captivating the soul of the artist. This brings the moulding of life turmoil and experiences into the idiom of his art, which gets nurtured through the doldrums and pains of life. The beauty of the process of creation is that the critical and emotional aspects of life are transformed into the blissful manifestation of energy and rigor. For some artists the happiness is experienced when they are engrossed into such a unique process of ‘psycho-technology’. The medium, technique and process of construction makes the technology work.
 PaRa ( Patil Rajendra ) and Nitin Kulkarni 

The unique aspect of the body of art created by Rajendra Patil is that he uses various mediums and techniques of art creation multidimensionally. He has also effectively used the digital form of art in this exhibition. The navigation of visual elements moving for joy is clearly felt by the viewer. There is no need to call the works as ‘abstract’ in order to experience his art.

The creative soul keeps coming back again and again towards the residue of joy; the energy of life which remains as a ‘negative’ form. This negative form isn’t negative in terms of its emotional nature; rather encountered as the endured space that haven’t been created but rather got its unmuted existence. This small spirit of human life which was always present but got overshadowed in material aspects of life, becomes the fulcrum for lifting the mundane; boredom of daily ritual of living, this negative shape becomes the ‘weapon’ against the non functional; non creative and sterile.

The form of weapon or tool is the form emerges from deduction. This shape is the most essential and therefore unstylish, one can decorate it around the main aspect of the function. The tool of battle for life, is absurd in terms of the aesthetic of superficial and therefore the most beautiful form, hence one cannot change it any further for fancy. The form of weapon or tool is negative in terms that the function for which the weapon is meant for is the positive aspect. The union of the function and form is going to bring the victory over the evil or mere opponent. The act of striking with the weapon is visualised in the mind and then practiced towards achieving excellence.
Sudhir Patwardhan and PaRa ( Patil Rajendra )

Rajendra believes that mere configuration of the aesthetic visual doesn’t qualify to be as art. Artists life lived and un-lived; his experiences and struggles are very much necessary for the completion of his art. “My art is the bridge between the past and future the past which came from a small town and present in the mahanagar Mumbai”. Experiences of farming from the past has always remained as inspiration for him, the various tools used in farming like plow, spade and sickle etc. were creating an subconscious impact for the abstract idiom of paintings and sculptures. The tools are now taking shapes of weapons in the chaotic environment of present surroundings. Fear is the source or the place of weapons. When the weapons are hung on the wall like those swords and shields that is the sign of shedding of fear. The weapon not used becomes an array of sight which enchants the sensory experience; but at the same time it also makes a subtle statement. This is the duality and union of two opposites like peace-violence; negative-positive; mutiny-subservience; action-sterility; hope-fear etc. As per Rajendra “My art is my statement” this statement has the potential of the dual nature of reality. The statement which isn’t like a statement and the visual isn’t only as for enchantment. ‘Striking the equilibrium of opposites is the true meaning of life’ is his art suggesting this?


Nitin Arun Kulkarni
 New Panvel, 30th September 2019



Batin | Solo Exhibition by Saubiya Chasmawala





About the Exhibition

We are delighted to present Batin – Saubiya Chasmawala’s second solo exhibition in Mumbai, and her first at TARQ, following her 2017 show Pilgrimage of Historical Oversights at Clark House. In this exhibition, Chasmawala works to further develop her engagement with Arabic script, pushing the boundaries of abstraction. In her paintings of ink and natural dyes, Chasmawala layers characters to obscure the rigidity of their form, moving away further away from her older, representational works.



Bātin literally means "inner" and in this context, is connected deeply to the artist’s relationship to her practice. Her newest works are born out of a desire to demystify, to unveil, and are the results of an intuitive, introspective, almost meditative mark making process. The artwork is undoubtedly and almost inextricably tied to Chasmawala’s sense of self, history, and identity and their creation is a therapeutic, almost cathartic process for her, and an opportunity to move away from a sense of conflict and duality.

The exhibition will be accompanied by a catalogue featuring an essay by Skye Arundhati Thomas, which delves into Chasmawala’s unique approach to abstraction, form and texture.

About the Artist

Saubiya Chasmawala (b.1990) received her Masters in Visual Arts from Vadodara’s Maharaja Sayajirao University, Fine Arts, specialising in painting (2015). She interned under the paper-artist Anupam Chakraborty in hand paper-making at the Nirupama Akademi, Kolkata.

In September 2017, Saubiya had her first solo exhibition, Pilgrimage of Historical Oversights, at Clark House initiative in Mumbai. She has been a part of various group shows including Words of Her Seeing, Conflictorium, Museum of Conflict, Ahmedabad (2019); In letter and spirit, TARQ, Mumbai (July 2016); Unwinding,  Nazar Art Gallery, Vadodara, India (November 2016); Reading Room, a travelling exhibition curated by Amit Jain, Winchester School of Art, University of Southampton, United Kingdom (October 2015) and New York (September – October 2016) and Emerging Palettes, an exhibition of paintings, Srishti Art Gallery, Hyderabad (August 2015). Her work was also exhibited at the India Art Fair, represented by TARQ (2018), and CIMA award show (February 2017).

Recently, Saubiya was part of the Artist’s Program at The Space Studio, Baroda (February-April, 2019). She has been an artist-in-residence at the Blueprint12 Studio, Vadodara (July-a TIFA working studios in February 2017.

She is a recipient of the prestigious Nasreen Mohamedi Scholarship Award (2011-12) and Inlaks Fine Art Award (2016). She currently practices her art in Vadodara at her personal studio. 



Preview: Thursday, 17th  October  2019 | 6:30 pm – 9:30 pm
11:00 am – 6:30 pm | Tuesday – Saturday | Closed on Public Holidays

Ananyaa  Menon: press@tarq.in or +91 22 6615 0424

Invitation for a panel discussion "DANCE and the CITY " on 16th October, 2019 at NGMA, Mumbai.

 NGMA, Mumbai.

Friday, 11 October 2019

"पारा"यण - राहुल धोंडीराम थोरात



प्रतिभावंत भारतीय चित्रकार श्री. राजेंद्र पाटील "पारा" यांचे एकल प्रदर्शन सोलो शो- 'इनबिटविन होप अँड फीअर' सध्या जहांगीर आर्ट गॅलरीत आयोजित करण्यात आले आहे। 8 ते 14 ऑक्टोबर 2019 पर्यंत हे प्रदर्शन कला रसिकांसाठी आणि सामान्य जनतेसाठी खुले आहे। आवर्जून पहावे असे हे प्रदर्शन आहे। तेव्हा अवश्य एकदा....



माणूस हा समाजशील प्राणी आहे असं अरिसटोटल Aristotle म्हणतो। पण तो समाजशील होण्याची प्रक्रिया ही क्लिष्ट आहे। व्यक्ती, कुटुंब ते समाज अश्या स्तरावर वावरताना त्याला नीतिनियमांचे बंधन असते। समाज हा कळपांचा बनलेला असतो, समूहाचा बनलेला असतो। कळपांचा, समूहाचा त्यांचा स्वतः चा एक स्वतंत्र विचार असतो आणि समविचारी डोकी एकत्र येऊन ग्रुप बनतो। समाज जीवनात राहताना या समूहात, कळपात आचार विचारात घर्षण व्हायला सुरुवात होते। मतभेदांचे रूपांतर हिंसेत होते। यासाठी शस्त्रांच्या निर्मिती ची गरज तयार होते। चढाओढ, स्पर्धा यातून मानवी अस्तित्वालाच धोका तयार होतो। ही प्रक्रिया मानवाच्या अस्तित्वापासून आजपर्यंत चालू आहे आणि एका विशेष महत्वाच्या टप्प्यावर, वळणावर येऊन आपण सर्व पोहोचलो आहोत। जागतिक पातळीवर भीतीचे मळभ अधिक ठळक होत आहे आणि हे सिरियसली विचार करण्याची गरज आहे। हाच धागा चित्रकार राजेंद्र पाटील यांनी तब्बल तीन दशकं समर्थ पणे पकडला आहे। आशा आणि भीती या मानवी आदीम प्रेरणांना, संवेदनशील भावनांना आपल्या कलाकृतींच्या माध्यमातून परिस स्पर्शाचा अनुभव देतानाच विचार ही करायला चित्रकार "पारा" पाटील आपल्याला प्रवृत्त करतात। ही या प्रदर्शनाची जमेची बाजू आहे।


चित्रांचा आणि शिल्पांचा सौदर्यात्मक अनुभव रसिकांना होतो। शस्त्रांचे वेगवेगळे अमूर्त केवल आकार हे चित्रकाराच्या बुद्धीमत्तेची चुणूक दर्शविते। कॅनव्हास ला असलेल्या विशिष्ट पोतामुळे विषय अधिक गहनपणे ठळक होत मनावर ठसतो। रंगछटांचा सुंदर मिलाफ चित्राला विलोभनीय बनवतात। त्रिमित शिल्पातून आणि इन्स्टलेशन मधून रसिक हे विषयाशी पूर्ण पणे समरस होतात। काही चित्र ही डिझिटल माध्यमात आहेत। तंत्रज्ञानातील आधुनिक टूल्सचा प्रभावी अचूक वापर ही "पारा" आपल्या कलाकृतीत करतात हे विशेष।




"पारा" पाटील यांच्या कलाकृतींचे समीक्षण करताना केवळ कलात्मक- सौन्दर्यात्मक बाजूने आपल्याला विचार करता येत नाही। सामाजिक, राजकीय, आर्थिक आणि कला राजकारण या पातळीवरचा त्यांचा संघर्ष ही आपल्याला विचारात घ्यावा लागतो। "पारा" पाटलांच्या एकूण व्यक्तिमत्वाचा आपल्याला विचार करावा लागतो। मूळात "पारा" हे स्वाभिमानी आणि प्रामाणिक कलावंत आहेत। विध्यार्थी दशेतच संपूर्ण महाराष्ट्रात प्रथम क्रमांक मिळवून त्यांनी त्यांची प्रगल्भता आणि सशक्त कलाजाणीव सिद्ध केले आहे। विविध पुरस्कार, मानसन्मान आपल्या प्रतिभेच्या जोरावर मिळवून आजही त्याच दिमाखात त्यांची कला निर्मिती चालू आहे। कुठल्याही राजकीय पक्षाच्या सावलीची त्यांनी कधीच अभिलाषा बाळगली नाही। आणि म्हणूनच त्यांचा हा कलात्मक प्रवास हा संघर्षमय आहे। शुद्ध आहे।

- राहुल धोंडीराम थोरात

Monday, 30 September 2019

Between Hope and Fear - PARA, by Georgina Maddox

Rajendra Patil Para’s Concrete Abstraction Georgina Maddox  The material dimension of daily life and its potential to be transmuted into aesthetic practice has been an integral part of Rajendra Patil’s (Para) artistic vision and repertoire. Patil’s formative encounter with the working-class Chawls of Bombay (Mumbai) along with the rural and agrarian landscapes of his childhood in Chopda, have had a distinctive influence on his sensibility. His canvases and installations expand over a period of almost three decades. His oeuvre comprises such diverse mediums as oil, acrylic, metal casting, terracotta, mirror glass installation and digital interface, represent through the language of abstraction, concrete concerns that are grounded in lived reality.  Patil’s art over the years reflects the complex, heterogeneous texture of post industrial urban geographies. It revels in the pleasures and travails of the labouring body encoded in the physicality of tools. It participates in the preservation of ephemeral historical and personal memory through the tangible and quotidian archive of objects.   Tools are an important presence in Patil’s paintings and sculptures. They occupy the canvas and the spatio-temporal coordinates of the environment in diverse ways, and providing an archaeological optic with which to interrogate certain primordial and fundamental questions about the nature of human existence. The tool, be it farm equipment, mechanical instruments, or artisans’ implements, serves as a threshold for mankind’s emergence as a cultural being capable of augmenting his powers and turning nature into a resource for knowledge, cultivation, and consumption.  As Bernard Stiegler observes, writing and art are not only expressive forms, but primarily technologies (‘techne’) emerging out of our prehistoric engagement with the sphere of inanimate matter to transform it into discrete and usable cultural objects.  In his recent Untitled series, tools are integrated into the canvas as notations of an abstract score interrupting the colour field as individuated figures. 


These while retaining the contours of recognisable objects are also simultaneously de-familiarised by being dislocated from conventional contexts of cultural reference.  The ghostly appearance of sickles, chisels, knives, stones, axe heads, and spades, emphasises the artworks’ perceived continuity with a primordial scene of origin, while also alluding to a common space of aesthetic cohabitation and dialogue that painting shares with artisan and crafts-making practices. The depiction of the often crude outlines of these objects that seem to be hollowed out of the canvas against an uneven backdrop that is heavily textured with ridges, grooves, superimpositions, layering, and hacking, makes the work itself into an extended self-reflexive dramatisation of the corporeal, material, and sensuous encounter between object and idea, instrument and skill, matter and vision that constitutes the artistic process.  Patil’s palette in most of his paintings evokes the terrestrial shades of brown, earth reds, skies bleached of blue and inky black of space. Moving from a harmonious space of his earlier shamanic forms, Patil invests his canvases and sculptures with a subtle hint of violence that gets further magnified in his recent installation and digital artworks. Where once his paintings celebrated the purely organic, it now addresses the pervasive infiltration of technology into the rhythms and experiences of everyday life.   




Tools in Patil’s paintings and sculpture, is not an object of mimesis, or just a figurative component in the artwork’s larger representational message. Rather the tool occupies the artwork performatively as a set of haptic effects: torsions, hollowing, fragmentations, and high-relief mark-making that the painting then registers into the materiality. It leads to a conversion of its own medium, from a purely visual space into a tactile one. Elevated and disaggregated from its utilitarian framework the tool is transformed into what Martin Heidegger refers to as its propensity for withdrawal from access and objectification in situations of breakdown, or even creative re-appropriation. This then compels the user to rethink the very dichotomy between subject and object, active and passive, spirit and matter, lifeless and animate, upon which the supposed notion of anthropocentric supremacy is built.  In this mode the tools in Patil’s paintings also address alternative, subaltern, and local micro-histories of labour, exploitation, violence, and resistance that are often unrepresented in dominant historical narratives. The working class are lionized through his engagement and foregrounding of the tool as an object of sleight. 

  The powerful and insurrectionary force of the material object recurs in Patil’s sculptural works. The solid, abstraction of the machine, which is at the centre of a post-industrial topography, is realized in a three-dimensional format of his metal (?) sculptures. The nature of the works emphasizes a scrap-metal assemblage aesthetic, which is not highly polished or finished. It challenges the tenets of the Objet d'art or precious ‘collectible’ that is decorative or ‘pleasing’ in a conventional manner. Rather it celebrates a robustness and mundane value of working implements. However it does transform these implements into aesthetic and abstracted forms. They are evocative, yet not illustrative.   

Patil has also ventured into the territory of installation art, by creating a 30x30 inch globe surrounded by small tool-like forms made of terracotta and suspended from the ceiling so that it dangles or orbits the globe. The installation, titled Hope and Fear, depicts the contemporary dangers surrounding the planet, in the form of environmental, bio-political and military threat. It addresses the phenomenon of weaponization of space and the transformation of the tool from a benevolent implement of cultivation and creation into an instrument of mass destruction and planetary annihilation.    

Rajendra Patil, was born in Mumbai and educated at Ruia College where he studied history, and later at J.J School of Art and Raheja School of Art. 

Tuesday, 10 September 2019

PIN POSTER: NIPPON GALLERY

Nippon 30/32, 2nd Floor, 
Deval Chambers,Nanabhai Lane,
Flora Fountain, Fort, Mumbai, 
Maharashtra, India.

RSVP: Tel: 022 6633 3997 / Email: nipponbombay@gmail.com wwww.nippongallery.com

Sunday, 1 September 2019

Who is Heena Shaikh ?

Heena Shaikh was born in 1990 Pune, Maharashtra, she has completed her study in BFA Fine Art from Bharati Vidhayapheeth and MFA from SNDT Mumbai university, she is known as Rebel abstract painter 
Artist : Heena Shaikh 

Heena began her career by she being inspired from her family, her family members are signboard painter and most of them work for film set design, she enjoys old calendar design and kept learning from people near her, she knew one painter during her childhood..M F Hussain.

She belongs to Muslim family most of time her family stopped her painting. Since childhood MF Hussian has always been her inspiration to go after her dreams. Before Art school she painted ganpati and Mother Merry God at the same time. After a while she got more interested to work in the field of Art and she loved reading books of J Krashanamurti, while reading books she was more fetched towards abstract painting like V S Gaitone, Pual Klee and Nasreen Mohamedi.
Rare Painting by Heena Shaikh 2011

Heena says while working, conscious as well as sub conscious mind both are at work. With all this thinking it is like one is searching own self. From the time she started understanding pictures and paintings, rather than depicting them as they are, she put them on canvas the way she saw it. The way they are to her, the way she understands them. “Paint things that I visualize’’ is her way of art.  

Rare Painting by Heena Shaikh 2014


Henna’s paintings are not just paintings, they are a bridge. Bridge that connects two worlds, one that she carries inside her and that is her conscience in which she always loves to discover a new color and paint with it and the other is her outer world. Bad or good emotions, right or wrong morals and feelings, they all build this bridge up. It goes without saying that when a bridge is built with such strong rudiments, the travel from one world to the other is smoother.
Abstract painting she show lots layers of colour overlapping, mostly she use pastel shades like gay and skin colour with light blue shade

This discovery of her own self is yet not over for her. She still wants to discover herself and get this feelings travel to the outer world to see through the bridge – Heena’s paintings!

- On behalf of Pankaja JK

Art Blogazine 2019




Thursday, 29 August 2019

'PRIYA Dube’s poetry and art speaks of her life' - Satarupa Bhattacharya


Art & Deal  Magzine 

New Delhi

Priya Dube (1992) was born to a family belonging to Uttar Pradesh in Sumesherpur. The family shifted to Bombay, where she was raised. Her journey in the field of the arts began at an early age when she began to sketch and draw her immediate surroundings. After she acquired a degree in interior designing, she worked as a designer for five years. Eventually, she found her calling as a fine art practitioner and began her practice from home.



Dube’s poetry and art speaks of her life: a life that she chose to rebel against the institutionalised setups with. Her works speak of her resistance to the inculcated practices of boundaries that has over the years become our identity. In a society of norms that includes language, marital status, class consciousness, and occupational constructs, the very act of making art and writing poetry has become a form of resistance.

Her art speaks a language of the inculcated systems of womanhood, whereby, womanhood is her boundary. This is the boundary she breaks with her installation of clothes lined up against the windowpane, which she calls “Your Thoughts Drying Under the Sun, Night will be Sunshine with Hair”. The installation speaks of how we hang our minds out to dry, while we mull over our situations on an everyday basis.

 The clothes lined up are a regular middle-class household sight, where lining them up is the easiest and fastest way to find them and arrange them. Her installation shows the convenience associated with her daily life, where she finds herself constantly rummaging through her surroundings for details that accentuate her being. Similarly, the self-portrait is an insight to how she looks at herself. A poem that describes her yearning to be one with what she looks at while looking deep within herself is included as the title and a part of the painting. Her words enunciate her desire and longing that she has buried within herself. This journey is not only spiritual but also political, where she discloses her utmost desire to be seen as a capable being and a desirable one at that. The genitals are so regularly decisive of what or who we should become and how prolifically homogenized is that idea that she creates several images of the vagina to dismount from the stationed notions of gender.Here, she includes a poem that describes the mood of the vagina. Thereby, she brings forth the point of consent and the dilemma of gendered desire. Her other works to speak of her daily interactions with her surroundings and with the core of her existence.

“Love Box with Smoking Ideas”, a depiction of several images from her everydays, and “Beautiful Mind”,a combination of several aestheticized pictures of people, are evocative of everything that has visually pleasured and plagued her. Such a range emphasizes her keen ability to look deep within and outside the peripheries of the society she struggles with as a woman and as a metropolitan individual.

All in all, Dube’s works are evocative of our every day, whereby, making it even more plausible for us to see what we don’t want to see. Her works enables us to see which we have seen every day and have functionally desensitised ourselves towards. Her anguish, her love,her desire, and her ability to mull over all that she is or is to become has all been set right in front of our eyes to witness. In doing so, we are not only witnessing her journey but the journey of our collective existence.Therefore, Dube’s works speaks of us all.

  Satarupa Bhattacharya





Nippon Gallery

30/32, 2nd Floor, Deval Chambers, 
Nanabhai Lane, Flora Fountain, Fort, Mumbai - 400 001/ Tel: 022 66333997
Mumbai, Maharashtra





Friday, 16 August 2019

ART & SOUL : Text Part III: Subaltern Sexuality-Body as Text



 ‘In literary theory, a text is any object that can be “read”, whether this object is a work of literature, a street sign, an arrangement of buildings on a city block or styles of clothing. It is a coherent set of signs that transmits some kind of informative message […]’ explains Wikipedia.
Recent work by Sudharak Olwe 
In contemporary Indian art we continue to evolve the genre of the human figure or portraiture as representations of our culture and its unspoken dimensions. The photographic portraitures may represent new dimensions of ( trans) sexuality, gender, queer groups or focus the unspoken through the subaltern. My focus is the gaze of the protagonist in the picture should meet the onlooker.     



Every human being experiences a discreet sexuality which is silently there, often in all human actions and expressions. Often these experiences are repressed, except gentle suggestions in human conversations. Sexuality is deeply silenced or means “layers of silencing” in common human experiences. Spaces and right to conversation about one’s sexuality/ sexual identity are few and nil  especially for the subalterns (economically, culturally and socially dispossessed). Consequently, “speech as expressions of sexuality” and ruthless violence are deeply entwined. 

Sexuality forms an important aspect of human identity. The discourse on sexuality breaks on the experiences of the “materiality” of the human body. There is no other consequence that shapes one’s sexuality than the materiality of the human body. How is one to negotiate these transforming inwardly human experiences during childhood-puberty onwards? What is the nature of subaltern sexuality? How does it manifest itself as a poignant reflection of the self for most humans? In “Subaltern Sexuality: Body as Text” one may be able to read the deeply unspoken, through-in the bodies of the protagonists. The incredible voices from within- its manifestation as a poetic content of the world or home (within) plays with inevitable control through punishments and silenced power abuses.
Sudharak Olwe  at Art & Soul Mumbai ( image source sudharak owle fb image) 

Sexuality is a bundle of energy when politicized- gets recognized in the “queer moment/s” that any given social/cultural space creates, making aware of one’s emerging/ transforming sexual identity. Several such moments become really poignant for oneself to observe also the rupture from within. A tearing inner voice acquires within as the gaze returned (looking at the camera lens). Often the bare gaze of the protagonist is layered and poetic with these expressions. The visuals are subtle and strong manifesting the unspoken in their meeting of gaze with the onlooker.   





Shubhalakshmi Shukla
Curator


1, Madhuli, Shiv Sagar Estate, Dr Annie Besant Road, Worli, Mumbai, India
400018 Mumbai, Maharashtra
Highlights info row image
022 2496 5798




Monday, 12 August 2019

PIN POSTER : WORKSHOP at Nippon Gallery l Mumbai

30/32, 2nd Floor, Deval Chambers, Nanabhai Lane, Flora Fountain, Fort, Mumbai, 400 001, Maharashtra, India.Tel: 022 6633 3997



PIN POSTER : Nippon Gallery l Mumbai

30/32, 2nd Floor, Deval Chambers, Nanabhai Lane, Flora Fountain, Fort, Mumbai, 400 001, Maharashtra, India.Tel: 022 6633 3997

Monday, 24 June 2019

My body my life partner Isn't your body your life partner? Priya Dube Solo show at Nippon Gallery Fort Mumbai -1


PRIYA DUBE ( 26 ) was born in Sumesherpur, Uttar Pradesh. And she has been raised in the metropolitan city of Mumbai. Priya stays with her family in Mumbai. The artist began her professional career as a trained Interior Designer from Rachna Sansad Mumbai and has gradually veered towards visual art since the past four years. Her work comprises Multi-disciplinary art and as she mentions “I have learnt everything from my surroundings. Being self-taught, I have become an individual expressionist based on my keen observation towards the situations, people, emotions and my experiences”.


One of the abiding influences has been her North Indian family background which has been a unique amalgam of traditionalism and modernity! Growing up in such a milieu her body’s development from childhood to adulthood was a defining moment both in terms of her family’s outlook towards her and her exploration of her own body. She also mentions that it’s not about being feminist, it is about deeply connecting with one’s own self both physically and emotionally whether one is male or female. And then it is also about being in sync with accepting and fulfilling the body’s emotional and physical desires.

Self portrait

To be one
To be the one
I have crossed the bridges
Of thousand love stories
Now I incline
To
My body
My soul
To a new journey
Discover the new me
Nourish the new me
Embrace the new me

The body is the layer of lust and love
We crave for the lust to be loved
But not love the lust
They look at me
As if the story is common
I look at them that the story is uncommon
Having said that
You still kiss me under the moonlight
Thinking today I will moan
Saying your name

I crave for you
As you crave for me
We make love in the minds
 And
Fight between those words

Staying close to you gives me immense peace
Staying close to sea gives me the similar feeling
I ask myself do I love myself more than you
( smiles )
My body responds yes you do
I do I do I do
And we decide to be one

My body my life partner
Isn't your body your life partner?


Recen work at Nippon Gallery Fort Mumbai -1
Since the past one and half years I have spent a lot of tome delving deep into my body.  And I have transcended the societal boundaries I had imposed on myself all through my growing up years!  And I feel like a conqueror now!
The concept of this show began with photographs I clicked of my nude self to better connect with the forms of my body. As I started sensing every body part I developed a connection between them and my surrounding situations. I also clicked other pictures that gave me new stories which have been depicted in the pieces on display!
I choose mix media as my expression because I can narrate them in drawings, photography, film and audio. I believe in mix media because every expression touches a different sense of the body and this helps in giving a better connection to the story.