Wednesday, 1 July 2020

SAVE DATE : 1st July 2020/ 11am NIPPON ONLINE SOLO

SAVE DATE : 1st july 2020/ 11am NIPPON ONLINE SOLO
Nippon Gallery
Welcome to Nippon Gallery, a digital platform to connect artists with art collectors globally.Log on to our Online Platform to discover more about these Indian artists
and high-caliber artworks from studio.

Gallery Hall -1 Bhushan Bhombale
Gallery Hall -2 Heena Shaikh
Gallery Hall -3 Santanu Debnath

July 1st to 20th 2020
To visit our online viewing room, click here:…/
NIPPON GALLERY 30/32, 2nd Floor, Deval Chambers,Nanabhai Lane, Flora Fountain, Fort,Mumbai – 400 001 India.

Monday, 8 June 2020

Tarq Mumbai : Inherited Memory

Inherited Memory

June 5th 2020 - June 26th 2020

Sarah Naqvi, Shrine of Memories, 2018, Embroidered sculptures, Metal mesh and embroidery thread

About the Exhibition
With a series each by the artists, Garima Gupta, Rithika Merchant, Sarah Naqvi and SaubiyaChasmawala, ‘Inherited Memory’ continues to attempt to yield inspiration, contextualize and make sense of the current scenario as we begin to rebuild a new normal. We look closely at the idea of bearing witness, with every artist recording and trying to cope with a different memory.
This exhibition comes together after pondering the environmental effects of a world-wide quarantine in ‘Resurgence’ and reminiscing our lives before lockdown in ‘Navigating Geometries’. The team at TARQ, along with our artists, continues to look further within ourselves through this next exhibition ‘Inherited Memory’. 
As we begin to try and heal and repair from this pandemic, the initial sense of panic  and anxiety has faded. The existential doubt rises up and we wonder about our basic survival going forward. This urges us to dig into the archives of our memory, in an attempt to pierce through these inarticulate and intangible emotions; emerging resilient and ready to conquer the trauma of the past, and enter into a new reality. This collection of artworks are expressions of freedom, of memory, of nature and of space. 
The exhibition will be accompanied by a lecture series conducted by Dr.Kaiwan Mehta, a stimulating discussion between our artists and artist talk-throughs, all conducted online, in our continued attempt to recreate some of the physical programming that we are all missing out on at the moment. Details of these will be available on our social media pages through the duration of the exhibition.
About the Artists
As an artist and researcher, Garima Gupta’sfield of interest and study stretches from ornithology, topographical alterations and nuances of behaviour patterns between man and wild, primarily in the Southeast Asian archipelago. Through her intriguing drawings and documentaries, Garima traces patterns of destruction from different historical periods, ruminating on the connection between imperialist iconographies concerning wildlife and its mirror images lurking in the psyche of the modern-day East. Her ongoing work focuses on environmental catastrophe and wildlife loss through her in-depth research on wildlife hunters in the New Guinea rainforests, wildlife bazaars in parts of Indonesian islands and taxidermy related trade in Thailand. 
With nature playing an important role and an emphasized use of organic shapes and colours, Rithika Merchantworks explore myths across geography. She creates mosaics of myths that question received histories that are available to us throughout culture. Her paintings are made using a combination of watercolour, gouache, ink and collage elements, drawing on 17th-century botanical drawings and folk art, to create a body of work that is visually linked to our collective pasts.
Inspired by female- driven narratives, Sarah Naqviengages in conversations themed around religious and societal stigmas. Using textiles and embroidery as the primary mediums in her practice, this young visual artist uses the cathartic nature of its process to address relevant issues of marginalization. According to Sarah, “Witnessing violence through images of brutality and loss in daily newspapers has been an extent of our privileges. These become visuals we encounter on a day to day basis. In time, we grow accustomed to it, desensitised, depersonalised.” It is these objects that she represents here, her threadwork marking, deliberately the passage of time, and the events that are now too familiar.
Since her graduation from MSU Baroda in 2015, SaubiyaChasmawalasees her work as a means to reflect on everything that has played a significant role in shaping the way she perceives the world. Art making for her is about confronting her fears and getting over them. It is about transformation and regeneration. She works primarily on paper and uses various symbols, gestures and images as a starting point of interaction with the surface. Her process is intuitive and introspective. It allows her to discover a deeper understanding of herself and her experiences. From her 2017 series, “A Pilgrimage of Historical Oversights”, Saubiya has worked over photographs from her family archive of her visits to many places of pilgrimage. She has painted over them to depict her versions of what the photographs represented in order to reflect on the spaces and stories of her childhood.

F35/36, Dhanraj Mahal, C.S.M. Marg, Apollo Bunder, Colaba, Mumbai 400 001+91 22 6615

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Registered Address: 1001 Raheja Chambers 213 Nariman Point Mumbai 400021 CIN:


Friday, 5 June 2020



Curator: Shardul Kadam
( Black & white artworks in any format and about any subject )

an Viewing online art exhibition at
After World War -II, the world has faced such a huge disaster and loss of lives now, during Covid-19 pandemic. Being artists we can feel the unrest, sorrow and misery of people all over the world.
In this difficult situation every human being has become a warrior, together fighting against this dark period with strong hopes, faith and energy. This historic pandemic has made us realize the uncertainty, nothingness and completeness in human life.
This situation also emphasizes the role of hope and faith of man in the infinite journey of survival of civilizations through various natural and man-made disasters since ancient time to modern era.
In art history, the absence and presence of light is used to represent spiritual energy, divinity, gods and goddess etc. Brahman in Indian Vedic literature, Chinese theory of Yin and Yang, Buddhist theory of Shunyavada, The Theory of Big bang discuss about the 'nothingness ' and 'completeness' that relates to black and white.
Scientifically, black and white do not have specific wavelengths. Instead, white light contains all wavelengths of visible lights. Black, on the other hand, is the absence of visible light.
At the same time in color theory, white is the absence of all color and black is the presence of all color. A visual play using black and white together creates neutrality and infiniteness.
'A ray of hope’ presents achromatic artworks of various artists from the country coming together to represent their individual approaches and style, that reveal different aspects of hopes and faith in the context of human survival.

-        Shardul Kadam
-        2020,Mumbai

Please share works image with note and short CV note: with sub: A Ray of Hope
Last date : 30/ 5/ 2020

Monday, 18 May 2020

PIN POSTER : Venue :

PRO- PRINTMAKER | Kolkata Ink |
Explore artworks by various Printmakers from different countries all over the world coming together to showcase their Print.
Curator : Srabani Sarkar
Join us for this art exhibition online
Date: 18th May to 10th June 2020.
Need help?
Sale inquiry : Skype / ZOOM
Share : Facebook / Instagram
Print on Print

Sunday, 17 May 2020

PRO- PRINTMAKER | Kolkata Ink |

PRO- PRINTMAKER | Kolkata Ink |
Explore artworks by various Printmakers from different countries all over the world coming together to showcase their Print.
Curator : Srabani Sarkar
Join us for this art exhibition online
Date: 18th May to 10th June 2020.
Need help?
Sale inquiry : Skype / ZOOM
Share : Facebook / Instagram
Print on Print

Thursday, 7 May 2020

Call for Entries

Add caption
Call for Entries
All practicing printmakers worldwide are invited to participate in
An international open call for prints
Organized by Kolkata Ink.
This international exhibition of fine art printmaking will be open for all national and international Artists
  • All practicing printmakers worldwide are invited to submit 2 original print’s digital image. (no larger than 3MB) .
  • All printmaking techniques are accepted. Except digital art. 
  • Artist name-
  • Work title-
  • Medium –
  • Size in inch-
  • Prices –
  • Number of editions available for sale
  • CV.
  • Self portrait.
  • Application Deadline:  12 May 2020
  • Exhibition Dates: 18 May to 10 June 2020.
  • Artist have to do send your artwork & details to

Wednesday, 29 April 2020


Explore artwork by various artists from different states all over the India coming together to showcase their work done during lockdown.

21 days COVID-19 LOCKDOWN INDIA 2020

In deadly time, life in these quarantine time work of art.
Join us for this art exhibition online
Date: 1st May 2020 to 28th May 2020.


Need help?
Sale inquires : Skype / ZOOM
Share : Facebook / Instagram
Note: Artwork will be couriered in roll format with no shipping charges.

Thursday, 26 March 2020

Protecting oneself, one protects others’ Protecting others, one protecting oneself’- Lord Buddha

आज का डरा हुआ विश्व और सहमा सा रंगमंच !
डर..! डर हम इंसानो कि सबसे मजबूत और पुरानी सटीक भावना है l सबसे प्राचीन और सबसे मजबूत डर अनदेखे भविष्य का डर है ! अमरिका के मशहूर लेखक हॉवर्ड फिलिप्स लवक्राफ्ट ने इस बात को साझा किया जब वे खुद कि निजी जिंदगी में इसका अनुभव कर चुके थे l

इतिहास के अस्तित्व में आने से बहोत पहले मनुष्यो का अस्तित्व था l प्रागैतिहासिक मनुष्यो के बारे में जानने लायक सबसे महत्वपूर्ण बात ये है के वे मामुली प्राणी थे, जिनका अपने पर्यावरण पर गुरील्लाओं, जुगनूओं या मछली से ज्यादा प्रभाव नही था l आज का मनुष्य इन् सबसे कई गुना आगे सोचने लगा हैl

आज पुरी दुनिया लॉक डाऊन में जी रही है.. सब कूछ जैसे थम स गया हैl इन्सान की ये फितरत हि नही के वो कई दिनो तक एकही जगह बैठा रहेl मगर हमारी खुद कि गलती को हमे खुद को हि मिटाना होगा, संयम और सतर्कता से l आज के जमाने में सोशल नेट्वर्किंग कि वजह से कम से कम एक दुसरे से संपर्क तो कर सकते है, जानकारी पहुंचा सकते हैl युवाल नोआ हरारी कि माने तो हम अपनी जबरदस्त बुद्धिमत्ता को लेकर बोहोत आसक्त है, हम मानते है कि जहां तक दिमागी शक्ती का सवाल है, वह जितनी ज्यादा हो उतनी हि अच्छी है, लेकीन ऐसा है नही; और अगर ऐसा होता तो बिल्लीयो कि प्रजाती ने कूछ ऐसी बिल्लीयो को उत्पन्न किया होता जो Calculus कर सकती l

हाल ही में पुरा विश्व फिर से एक बार ‘Black Death’ कि तरफ बढ रहा है l ‘ब्लैक डेथ’ अक्तूबर १३४७ में युरोप में काले समुंदर कि दुरी तय कर के व्यापारियो कि जहाजो से निकली प्लेग कि महामारी थी l करीब करीब एक दर्जन जहाज किनारे तो लगे मगर उनमे से कोई बाहर न निकला l किनारो पर खडे लोगो के कूछ समझ में नही आ रहा था l कूछ देर बाद जब किनारो पर इंतजार कर रहे लोग जहाज पर चढे तो उनके होश उड गये l जहाजो में मिली लाशे और लाशो में कूछ जिंदा लोग जो किसी तऱह जिने कि उम्मीद लगा बैठे थे l वे सभी मौते प्लेग के कारण हुई थी l जहाज पर संवार हो कर आइ ये महामारी धीरे-धीरे युरोप के कई हिस्सो में फैल गई और तकरीबन आधी आबादी को खतम कर दिया l ये बिमारी वही से फैलकर समुचे विश्व में पहुंची l इस घटना के कई सालों बाद भारत कि प्रथम महिला अध्यापिका सावित्रीबाई फुले इनका निर्वाण भी प्लेग जैसी बिमारी के कारण हि हुआ था l इस महामारी से समुचे युरोप कि हालत काफी खस्ता हो गई l प्राकृतिक आपदासे बिमारियो का जैसा असर दुसरे देशो में था, युरोप में भी वैसा हि था l लोगो को खाने-पिने जैसी संसाधनो कि किल्लत उठानी पडी l जिनके पास अनाज था वें ३०० प्रतिषद तक दाम बढाचढा कर बेचने लगे l जिनके पास साधन नही था वे भूखो मरने मजबूर थे l लाखो लोगो कि भूख के चलते तडप-तडप के मौत हो गई थी l

 Image source

आज कि तरह तब भी ये महामारी चीन से हि आयी थी सन १३४० के बाद जब चीन में ये कहर बरपा तब ये चीन कि सरहद तक सिमट कर नही रहा और व्यापार में सहुलीयत के लिहाज से मध्य-एशिया, एशिया और दक्षिण युरोप के बीच संपर्क स्थापित करने के लिये सदियो पूर्व, थल और जल मार्ग विकसित किया गया था, जिसे ‘Silk Road’ कहा जाता था l ‘सिल्क रोड’ इसलिये क्यो के उसी मार्ग से सिल्क का व्यापार हुआ करता था, और इसी मार्ग के जरीये प्लेग जैसी महामारी भारत पहुंची थी l आज ये हवाई मार्ग से भारत और अन्य जगह फैल गया है l जब के उस वक़्त इतने प्रगत राष्ट्र नही थे l आज पुरी दुनिया में विज्ञान काफी आगे जा चुका है मगर कोरोना जैसे विषाणू से पुरे विश्व के वैज्ञानिक परेशान है, खोज रहे है जब के दुनियाभर के प्रगत राष्ट्र में इस विषाणू से मरने वाले लोगों कि तादात बढती जा रही है l

भारत कि जनता में आज कई ऐसे लोग है जिनके पास संसाधनो कि कमी है l रोज वे घर से बाहर निकलते है, तभी अपने परिवार के लिये रोटी का इंतजाम कर सकते है l मगर जब पुरा विश्व लॉक डाऊन है तब कई सारे परिवार इसकी चपेट में आना जायझ है, और हमे इन सबके बारे में सोचना बोहोत जरुरी है l ‘ब्लैक डेथ’ को दुनिया के इतिहास में सबसे खतरनाक महामारी के नाम से जाना जाता हैl हमे यानी समुचे विश्व को ये दोहराना नही है, अगर हम राज्य और केंद्र सरकार द्वारा बताये नियमो का पालन करेंगे तो हम अपने प्रीयजनो को दोबारा अपनी बाहोमें समेट सकते है l

 Image source

The Hindu

हमारी पिढी, जो ये सब हालात अपनी आखों दे देख-महसूस कर रही है, आने वाले समय में गवाह रहेंगे, कैसे इन्सान जैविक हथियार का शिकार हो रहा है.. कोरोना संक्रमण से बचने हेतू हम आज घर बैठे अपने प्रियजनो कि खुशहाली पुछ रहे है l जब हम उनके पास थे उससे कई गुना ज्यादा आज हमे उनके होने का अहसास सता रहा है l हमें एक दुसरे के प्रेम कि बोहोत जरुरत हैl

आज ‘विश्व रंगमंच दिवस’ पर विश्व का यह रंगमंच इन हालातो के चलते खाली रहने दे.. ताकी हम फिर एक नई शुरुवात कर स्वस्थ किरदार रंगमंच पर उतार सके ! सन १९६१ से ‘अंतरराष्ट्रीय रंगमंच संस्थान’ द्वारा शुरू हुआ यह दिन शायद विश्व में पहली बार ‘सामाजिक दुरी’ बनाये मनाया जा रहा है l

अपना और अपने प्रियजनो का ख्याल रखीये.. अकेले रहे.. खुद का और राष्ट्र का ख्याल रखें..!
आज बनाई गई दुरीया कल के मिलन का भविष्य है !
सिर्फ मन कि दूरिया मत बढाइये.. ये तकलीफदेह है.. बोहोत !!

अत्तानं रखन्तो परमं रक्खती l
परमं रखन्तो अत्तानं रक्खती l – महात्मा बुद्ध

(Protecting oneself, one protects others’
Protecting others, one protecting oneself’- Lord Buddha)

( No image copyright, Thanks The Hindu/ ET)

Dhananjay Sable

*वर्तमान परिस्थितीमुळे व्हायरल होत असलेला चित्रकार*

एडवर्ड हॉपर.
सहा दिवसांपूर्वी न्यूयॉर्क टाइम्समध्ये एका जून्या अमेरिकन चित्रकारावरती एक लेख लिहिला गेला कारण जगभरातून सोशल मीडियावरती हा चित्रकार सध्या व्हायरल होतोय. 

आज जगभरातल्या सर्व महत्त्वाच्या देशांनी स्वतःला बंद करून घेतलंय. भविष्याकडे जीव काढून पळणाऱ्या माणसांना एकाएकी ब्रेक लावल्यासारखं थांबवून टाकलंय.  माणसं घरात बसून आहेत , एकमेकांशी बोलत आहेत. पण असं ते किती दिवस वागतील.  चार दिवस एकमेकांशी बोलतील , आठवडाभर बोलतील पण त्यानंतर सर्व विषय संपल्यावर एक अशी वेळ येईल की हा संवाद थांबेल.  त्यांना परत एकदा एकटं असावसं वाटेल. कोणाशीही कशाहीबद्दल काहीही बोलावं वाटणार नाही कारण आपल्या शहरी माणसांना एकमेकांशी बोलणं इतकं सवयीचं उरलं नाहीये. आपल्या रोजच्या जगण्यात घरातल्याच लोकांशी आपण किती काळ संवाद साधतो याबद्दलच शंका आहे. हा एकटेपणा आपल्या शहरी जगण्याचा स्थायीभाव होत चाललाय. 
जगभरातल्या या विलगीकरणाच्या लाटेमध्ये मागच्या काही दिवसांपासून एक अमेरिकन चित्रकार व्हायरल होतोय. लोकांना त्याची परत एकदा आठवण झाली आहे.  1882 ते 1967 या त्याच्या कार्यकाळातच त्याने आपल्या वर्तमान जगण्याची दिनचर्या मांडून ठेवली होती ‌.  या चित्रकाराचं नाव आहे एडवर्ड हॉपर. 

             हा एडवर्ड हॉपर शहराची चित्रं काढायचा. शहरं , शहरातली माणसं , इथल्या इमारती , रस्ते , पेट्रोल पंप्स , छोटी-मोठी हॉटेल्स.  असे साधेसुधे वाटणारे , रोजच्या जगण्यातले , आपल्या आजूबाजूला दिसणारे चित्रविषय. हॉपरच्या कुठल्याही चित्रातला , कुठलाही माणूस , कुठल्याही ठोस एक्सप्रेशनशिवाय चित्रित केलेला असतो. तो संमिश्र भावना असलेला चेहरा आणि जोडीने त्याने मांडलेला अवकाश आपल्या आतलं असं काहीतरी हलवून जातात की मनात येणाऱ्या सर्व भावना काही काळासाठी गोठून जातात. वैयक्तिकदृष्ट्या एडवर्ड हॉपरची चित्र मला गायतोंडेंच्या चित्रानुभवाशी नातं सांगणारी वाटतात. एकाग्रतेने पाहत असल्यास गायतोंडेंची चित्र ही तुम्हाला तुमच्या आदिम शांततेशी नेऊन पोहोचवतात ,  त्याचपद्धतीने हॉपरदेखील त्या आदिम एकटेपणाच्या भावनेशी नातं जोडतो.

इंग्रजीमध्ये ecstasy असा एक शब्द आहे. या शब्दामागे अभिप्रेत असणारा ‘ आनंद ‘ आपण कुठल्याही थुकरट , रोजच्या जगण्यातल्या साध्यासुध्या अनुभवाशी जोडू शकत नाही. ह्या शब्दातून अभिप्रेत असणारा ‘ आनंद ' हा दैवी आहे. तो मांडण्याजोगा नाही. हॉपरच्या चित्रांमधूनही अशीच एक भावना तयार होते. ती शब्दात मांडल्या जाऊ शकत नाही. त्याच्या चित्रातून दिसणारा एकटेपणा हा समाजात रोज वावरताना आपल्याला एकमेकांप्रती असणारा तुसडेपणा नाही किंवा आपल्याला सभोवतालातून वेगळा करणारा एकटेपणा नाही. त्याच्या चित्रातला हा एकांत तुमच्या आतला आहे , आदिम आहे , मूळ आहे. हा एकांत तुमच्या जन्मापासून तुम्ही तुमच्या आत वाढवलेला आहे. रोजच्या जगण्यात हा एकांत जाणवत नाही ,  तो अवचित बाहेर येतो आणि आपल्या एकटं असण्याची आपल्याला करकरीत जाणीव करून देतो. 

आपल्या आयुष्यात असे तुरळक क्षण येतात जिथे आपल्याला खरोखरी मनापासून वाटतं की आपण पूर्ण एकटे आहोत. एडवर्ड हॉपर मला त्या अवचित उगवणाऱ्या क्षणांना मूर्त रूप देणारा चित्रकार वाटतो. 

- Charudatt Pande

   Artist/ Writer

  Pune - 2020

image google no copyright

Thursday, 12 March 2020

Re-visiting Mehlli

“I believe that in painting, everything should come out of a complete need. Color should only be used when totally necessary.”
Mehlli Gobhai
Image Courtesy: Chemould Prescott Road

Mehlli Gobhai, born in Mumbai in 1931, completed his undergraduate education at St. Xavier's College. He then trained as an artist at the Royal College of Art in London, and the Art Students League and the Pratt Graphic Center in New York. For twenty years after his studies, he lived and worked out of New York. His first major show titled Marking Black was exhibited at the Bronx Museum, where he showed 5 canvases alongside artists like Richard Serra, Sean Scully and Larry Bell. Gobhai returned to Mumbai in the late 1980s.

Untitled-14,mixed media on paper, 51.5 x 66 inches, 2010
Image Courtesy: Chemould Prescott Road

In his studio, in Mumbai, are found objects from his farm in Gholvad, dried coconuts to dolphin skull. “In my work, like nature, there is a compulsion towards the ‘axis mundi’. It is like the spinal cord – something derived from nature. The human body is an architectural feat. Through my anatomy study and my work, it has brought me the closest I have come to a sense of truth and a grand design.” says Gobhai whilst describing his work, using the term ‘organic geometry’, for its shimmering vibrancy. “The sense of aging and transformation of an organic form, and morphing it into something new appeals to me.” Even across a room, Gobhai’s geometric abstractions seem to emit a sub-audible hum. Their energy is so high that their physical boundaries appear permeable; they easily charge a space substantially larger than the four constructed canvases that they are painted on and the fourteen works on paper that completely fill the large rooms of Chemould Prescott Road.

As with most abstract painting, it may be fairly easy to describe what the paintings look like – repetitive geometric patterns rendered in an essentially earth-toned palette – yet nearly impossible to describe the aesthetic of their visceral impact. What exactly does a radiating starburst or proto hound-tooth pattern mean anyway? No matter the intricacy, how does one discuss a painting of a shape?
Untitled-2 mixed media on constructed canvas, 60 x 60 inches, 2010
Image Courtesy: Chemould Prescott Road

In looking for a conceptual foothold, where no overt narrative presents itself, how natural, how tempting to contemplate the physical origin of the artworks. Indeed, close inspection of Gobhai’s paintings makes for an intriguing exploration. Gobhai’s abstractions are not intentionally obfuscated nor are they apparent descriptive imperative. Absent, more overt rational as these, there might be a reasonable and strong inclination on the viewer’s part to assume that Gobhai’s painting exits solely as an outlet for his need to apply paint in the most painstaking way possible. It is at this point; one might begin to wonder if the artist is engaged in obsessive-compulsive behavior that, only incidentally, results in an artwork. No doubt that for the layman, Gobhai’s process must seem physically redundant and numbingly time consuming; for most people it is close to impossible to imagine sitting down and laying application, removal and addition of layers of acrylic, charcoal, graphite, zinc, aluminum powder and pastel one after the other, that add up to make a single painting.  

Although, it might be tempting to deconstruct Gobhai’s process and even, on a certain level, gain insights into the work by doing so, it is imperative not to lose sight of the seductiveness of the object itself. If we become obsessed with the process over the impact, then it is easy to be overwhelmed by the marks without keeping a fix as Gobhai does on their functionality. With attention to the intricacies of material, construction and placement, Mehlli Gobhai’s constructed canvases form an intriguing symbolic system. Gobhai mixes monochromatic and minimal styles with expressive use of color and form. His work is permeated by a powerful sense of the uncanny; he infuses textures and images with a dramatic, atmospheric charge.

Evoking a magical and emotive experience of time, place, and action, Gobhai both romances and unsettles the viewer with a sense of both revelation and mystery. He arranges elements in ways that privilege texture and tactility. With a theatrical flair reminiscent of Duchamp, he explores the social and personal implications of mixing abstraction and figuration.

Abhijeet Gondkar
(Abhijeet Gondkar is an independent writer and curator based in Mumbai. The above excerpts are from review of Mehlli Gobhai’s solo show at Chemould Prescott Road in 2011)

"DON'T ASK ME ABOUT COLOUR" - Mehlli Gobhai, A Retrospective
   Curated by Nancy Adajania & Ranjit Hoskote

 6 March – 25 April, 2020
National Gallery of Modern Art, Mumbai

Friday, 6 March 2020

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Wednesday, 4 March 2020

National Gallery of Modern Art, Mumbai

National Gallery of Modern Art, Mumbai

National Gallery of Modern Art
Sir Cowasji Jehangir Public Hall
M. G Road, Fort Mumbai - 400032

Congratulations Tejaswini Sonawane

Congratulations Tejaswini Sonawane for Print making category Rashtriya Aakademi Award 2020!!
#artist #contemporaryart #tejaswinisonawane
Honoured with 61st National Award

Saturday, 29 February 2020

The Accidental Jacket

“The Accidental Jacket” includes a new series of paintings that anticipates Pratik Ghaisas’s playful studies of personal identity; he delivers a deeply felt experience of human absence in a new installation of exquisite subtlety. Each work is meticulously crafted to its own emotional note. Beautiful and rich in associative resonance, the piece eviscerates abstraction and lodges right in the bones. Between the moments of tenderness and the undertow of anguish, the form pulsates with the full spectrum of human emotion. Circling its exterior, its outermost arm forming a closed ring, we’re barred from entering; we become empathic onlookers of the whole human drama.
 Artist : Pratik Ghaisas

Artists of the previous generation, the Pop painters and Minimalists, who came of age in the 1960s, defined the unity of their concerns by creating distinctive visual styles a Warhol, like a Lichtenstein or a Donald Judd, is unmistakably their personal product. What links these visually varied early works together is what might best be called a consciously eccentric poetic sensibility, his irony-laced fascination with unexpected sensory pleasures. One basic, longstanding rule governing the visual arts is that pictures and words tell stories in essentially different ways, and so should not be mixed together. That the human mind can conceive of a nothing as a something is an extraordinary feat of intellectual abstraction.

Gazing down across the form suggestive of our galactic home, we’re led to consider our predicament in the universe. Bound inside time, acutely aware of our own smallness and finitude and yet feeling ourselves and those we love to be as large as the world, we live in eternal incongruity with our indifferent cosmos. The economy of means with which Ghaisas is able to evoke such ultimate questions is remarkable. Indeed, his use of a metonymically implied personal space to conjure the universal charges, the work with the kind of condensed expression we expect of great poetry. The human mind may be able to grasp negation between the abstract and the reasoning faculty founders when it comes to its own. Perhaps it’s only with the language of poetry that we can think the unthinkable and, if not exactly accept the unacceptable, dare to feel the flame in all its intensity.

Though there all along, the issue of using a shaped support came into particular focus during the 1960s as an emphasis on both the painting as object, its unnecessary privileging of easel painting and ultimately the expendability of using only a single rectangle. In the current series the artist brings together and explores the possibilities of a shaped support as an optional formal development. But gone today are the conscious strictures and aesthetic divisions articulated in 1967 by Michael Fried in his germinal essay ‘Art and Object Hood’. There are works here that evince playfulness or Dada disregard for convention, as well as a compositional exuberance of both materials and pictorial forms that ultimately set an overall shape. That is to say they find shape by an excessive build up of material itself, or in working with one form or another, leaving those shapes to define an external perimeter edge.

The artist narrates how his father and his contemporaries were responsible for building audacious and imaginative meccas of free play, in particular that exceeded even the best paradigms. Examining the pictorial thinking of outsiders often takes a back seat to the thrill of rescuing overlooked objects from history. An excitement that is fueled by a perhaps unconscious nostalgia for artistic sincerity is elicited by work that often bears a coincidental visual relationship to modernism but is untainted by modernism’s worldly ambition. This is not really the case with Pratik Ghaisas. The correspondence to mainstream art in his work is not superficial. The diligence and concentration that he brought to his work are qualities of many mainstream artists, and tells us a lot about what it means to be an artist. As an artist, he exists on a twentieth century continuum. Art has historically been forged in solitude, and though it is tempting to romanticize it, his solitude, while deeper than that of most artists, fueled a quiet passion that is evident in the mood and intensity of the work and beyond its psychological concerns, these jackets tell a dynamic story that change with each subsequent viewing.

Abhijeet Gondkar
March 2020, Mumbai

Visible Invisible

solo exhibition
by Pratik Ghaisas

2nd March To 8th March
11AM To 7 PM

Jehangir Art Gallery

Inauguration on 2nd March at 5pm.