Saturday, 23 November 2019

PIN POSTER : NIPPON SOLO

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

Wednesday, 20 November 2019

Dr Sudhir Patwardhan A retrospective 29th evening NGMA Mumbai

Dr Sudhir Patwardhan
A retrospective
29th evening
NGMA
Mumbai

Wandering Violin Mantis | Nibha Sikander



About the Exhibition

The team at TARQ is delighted to present Wandering Violin Mantis– Nibha Sikander’s first solo exhibition. In this exhibition, Sikander expands on her growing practice of looking at and recreating various species from nature, some real and some imagined. The artist uses layer upon layer of intricately cut out paper to create form after form of moths, mantises and birds, each one meticulously assembled in her studio in Murud-Janjira.

This exhibition focuses on Sikander’s observations of a variety of insects and other creatures that surround her. Fascinated by nature since childhood, and more particularly since moving to her current home, the artist began experimenting with making birds in her medium of choice – paper. The paper, according to her, mimics nature in its versatility – soft, stiff, malleable and flexible, almost like wings, feathers and antennae. In some of her works, Sikander delves deeper into her engagement with her subjects, deconstructing, and even abstracting the individual elements of the bird or insect that she is recording.
In his catalogue essay, Ranjit Hoskote says of Nibha’s work “Wrought with unerring accuracy, and with a heightened attentiveness to delicate and often elusive detail, Sikander’s moths and birds testify to the dazzling enchantment of the natural world as well as to the magic of taxonomical science. Presented in segments, as a row of disjecta membra laid out from wing to beak and head, her birds make a graphic transition from field guide to portrait gallery. They come across, not primarily as representatives of a species, but as sharply individual denizens of a world menaced by predators, surly winds, changing weather patterns.”


About the Artist

Nibha Sikander (b.1983) has done her Bachelors in Visual Arts (2006) and Masters in Visual Arts (2008), both specialising in painting, from the Maharaja Sayajirao University, Vadodara. Since her graduation, she has been part of several group exhibitions, some of which include ALCHEMY: Explorations in Indigo, KasturbhaiLalbhai Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi, (2008-09)
She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March - May 2010)
She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005. Nibha currently works and lives in Murud-Janjira and Mumbai


Preview: Thursday, 28th November 2019 | 6:30 pm – 9:30 pm

11:00 am – 6:30 pm | Tuesday – Saturday | Closed on Public Holidays

For Images and Further Enquiries Contact Vanessa Vaz: press@tarq.in or +91 22 6615 0424

Address: F35/36 Dhanraj Mahal, C.S.M. Marg, Apollo Bunder, Colaba, Mumbai, Maharashtra 400001
Hours: 
Open ⋅ Closes 6:30PM
Phone: 022 6615 0424




Tuesday, 19 November 2019

Altruism of Lines Solo by Yashwant Deshmukh ,Curated by Prabhakar Kamble

Altruism of Lines 


Solo by Yashwant Deshmukh

Curated by Prabhakar Kamble

Yashwant Deshmukh is a contemporary conceptual artist, born in 1963,  growing up in Akola, Vidarbha, in the scorching interiors of Maharashtra. He graduated with a BFA from Sir J.J. School of Art, Mumbai in 1988 . In this exhibition he presents works from 2007 to 2019. It’s his short journey with his works. In the span of his career of thirty years Yashwant made various crossings between figuration and symbolic abstraction. He accentuates the lyrical and meditative elements of the object, and preserves the resonance in a monochromatic painterly treatment. He brings it with his personified ways that demonstrate his bounteous visualitics that proves it’s crest of minimalism. In fact it is a maximization of minimalism. Minimization is not to be the least nor is it for the emptiness, moreover it is an actuality and vitality. How would he forget the ascendancy of his village life, the experiences that left a deep imprint on his mind whilst building his life . Vidarbha is an extremely hot region with low rainfall. Until the age of twenty a boy who had never left his village and seen the outer world and thus never obliterated his deep interest in his in village life in later life and art. His expression is as clear and as simple as he lives and it exists with its individual and an exclusive identity.
Artist Yashwant Deshmukh



The extensive moorland under the scorching hot sun that is dilated straight to the horizon, in between is the sporadic appearance of the Acacia and Neem trees that breaks the horizon; the houses arise from the land itself and stand as the globe becomes the textured walls of the vista. There is a special kind of extinction throughout the scorching afternoon in the field, it is a different kind of quiescence. Sometime it is secluded from people. Habitations of small houses, sparse trees, deep arid bottoms of the well, when you peek into such deep wells you can experience a particular kind of eerie darkness, and silence in it sometimes it is haunted too. In this scenario underneath the roof of the immense blue sky and the desert gives you the realisation of your insignificance. This realisation calms you and it can push you to explore and discover yourself. What could be the end of life? The death? What would be the situation after death? Is it the same calmness and peace that will be there after death? It is the same voluminous vacuity? These experiences and consciousness of dialogue within ones self makes a balance between sphere of consciousness and context of visual expressions. His direct and indirect living within this realm endears in his art.



The works that you are seeing in this exhibition are not a straight trajectory of practice as you may perceive them to be, Yashwant made many crossings to reach here, after graduating from Sir J.J. School of Art he was experimenting with many art forms also he had a great influence of typical style of JJ's schooling, that he later refused to pursue . Initially he had done experimentation with all the forms including figurative, abstraction, still life, portraits. The change and the search within is the identity of a rational and logical mind. This logic is the beginning of wisdom. While walking to this path of wisdom and in search of self he turns to recall his roots where he spent memorable life moments at his village where he gets his source of fascination. It carries ingrained associations, for him, such as the hayrick, anthill and the grain store. He has done a solo show on the subject of the grain store. One can imagine how quotidian objects can play the impactful and important role in his practice and in discourse after seeing Yashwant’s work. The experience from the terrace in the dark night, the moonlight lightens the trees and the small houses; only the brighter edges are visible in the dark; it is the combination of line space and form in the atmosphere. Such frames live in depth of his mind. In daily life somebody feels the subject, somebody finds the content but Yashwant gets forms and those forms are enough to become a painting. Usual  common objects come in his art and it become uncommon and spectacular. Kites, human figures, pot, cycle, instruments, houses and many objects are the elements of his work. His work is born through his way of his seeing and experiencing the objects and surroundings. It matters, because I can see such things everyday, though I can not experience them like him. His observation and understanding is specific towards it so he sees it particularly.
Curated by Prabhakar Kamble



Yashwant never needs anything else to represent his objects other than the line, and limited simple colours, it is fulfilled by it only. He doesn’t rely on any other support for it. his visual patterns are very simple but exclusive and significance sensitization of his feelings. Only a form/ object can be the effective subject of painting for him. A rhythm of line, a construction and deconstruction of form, a single colour are enough as elements to construct a strong visual image. The object, form or a line this is the only content and context of his work. How it seems to him is more important, the feeling, emotions within it are important, and this feeling keeps exclusiveness in his art. He denies all the natural sources and effects on the elements like light, shadow, its volume, velocity; he wipes it out, nurtures it in his own way and simultaneously he brings the new image within it. At the same time he breaks the regular image while upgrading the same with a new form which is a key factor of his expression. The original form lifts slightly from the surface and separates it from the background with simple line-plays becoming the mysterious magic of wealthier visuals as a painting. These outer lines and forms, invisible movements of the plains slowly led me to discover varied forms within hidden spaces. The interrelation between form and space kept on adding new dimensions to his paintings.













Prabhakar Kamble 



Mumbai
14 November 2019


Saturday, 16 November 2019

NGMA MUMBAI

National Gallery of Modern Art, Mumbai

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


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