Saturday 31 December 2016

‘’ Love anything as it is, you cannot change love,but love can change you, you cannot change the one you love,

It was astonishing for me when I came across the book, Love Needed. The impression of the cover had enough to give eye balls too, it was definitely attractive. I read the name say, Zaara.A.Khan.  I wasn’t sure but was familiar with the name, flipping through the pages and  digging thoroughly gave me a insight to a new world.

The book Love Needed.
Love Needed is a novel that revolves in and around the capital city of India, Delhi. The book sounds just being a love story but reading the novel written by the young artist or author Zaara Alsabih Khan and we must say, her effort and hardwork is something that tells you much more realistic side of life.  
‘’The book is not just a complicated love story involving friends, it is about how parents fulfill their children's need sacrificing their own wishes, how they are treated with age.Encountering unexpected love,handling profession and family. What you may "SEE" may necessarily not be what you "SEE". Making you realise the real importance of time, money and death.How love melts a stone hearted person.With all the twists and turns in the life of a common man which leads him to a world beyond his thoughts.....’’

Author Zaara A. khan.

It is not surprising to mention that Zaara khan is a young inspiration to the new world . She is a medical student pursuing from Babu Banarasi Das, Lucknow. Apart,she is a certified Nutritionist and a Dietician. Her seminars attended by the youth are empowering, they are motivational and have a cause of expressions. In such short span of her journey she has readily worked in international (USA) based primary healthcare company, Sevamob as a camp co-ordinator and Nutritionist. She has given seminars to national and international organizations and institutions  like OXFAM, KVK and ICAR. Not only this, she sings and draws as well.
Zaara Alsabih Khan, happens to belong to Bhadohi which is located 45-50 kilometers from Varanasi,Uttar Pradesh India. Her father Iqbal khan is a businessman. And believe it or not she has travelled hours and hours daily just to study. She definitely breaks the stereotypical norms of belonging to a town, representing her city and state that’s what the vision and mission of a brighter and young India is.

Khan who is motivated by her mother,the doctor to be believes-  failing is a part of life if you don’t fail you never learn. She adds, One’s failure is an opportunity to success itself,but if something torments you mentally, you don’t need to be good at it,just leave.- zaara a. khan,love needed.

A part of the book stating about why Love Needed and why just not some other name?.

‘’ Love anything as it is, you cannot change love,but love can change you, you cannot change the one you love,for if you do ,you won’t love the new.If it’s given by any of the intentions above the other always feels good and right.If it builds you,always be ready to get destroyed. You can’t do without it,you can’t rid it, you will look for another, yet another, still with the pain, yet another. As intoxicating it goes, it won’t mind changing you from straight to homo, and if you don’t get it, you might end up loving yourself.
Hence, it proves that love has no boundaries,no limits,no time,no caste, no colour, no bar,no profession,no standards,no place,no age. That’s how one goes blind, deaf, mum, that’s how strong the power of cupid is and that’s how one pleads ''LOVE ME''. ‘’


-Love needed

- Review By Art Blogazine

Buy Book

Thursday 29 December 2016


Venue: National Gallery of Modern Art, Sir Cowasji Jehangir Hall, Mumbai
Inauguration: 23rd December , 2016, 6:00 PM
Open for Public from 24th December, 2016 till 31st January, 2017
Timing: 11:00 AM- 6:00 PM (Closed on Monday & Public Holidays)

Wednesday 28 December 2016

”Mukha – The Intimacy” exhibition by Hesham Malik at Carpe Diem Art Gallery – Majorda. 7th Jan – 3rd Feb 2017

Art has been the very first language which we humans chose to communicate with. The symbols, signs and colours formed the basis of what we define as today’s languages. The future of the world art market is inextricably bound up with changes to our society and its role in the world. We all work towards art fundamentally becoming more than an award, a respected space for ideas and knowledge that enrich the rapidly changing societies in our world. 

Artist : Hesham Malik
As India embarks on the largest investment in the arts in this region, it takes the lead in opening up an exchange of ideas through the art markets between competitive countries, so art is not merely an inward, national-looking process. A plethora of artists take on the challenge of portraying our culture and history around the globe.

Hesham Malik is a leading contemporary artist of his time. Globally, he identifies himself as an Indian artist. Hesham currently holds the record for the most expensive painting sold by an Indian artist. Inspite of his consistent colossal success in the international art market, Hesham is a humble person who believes that art should not only be for the upper class but be made accessible to anyone.  A lifelong artist, Hesham painted both for personal satisfaction as well to help charitable organizations. Hesham as a young man was expected to follow in his father’s footsteps and take over the family business but once he moved back to Dubai after obtaining his degree in International Business at Seneca College in Canada, he continued painting to raise money for charities. As an individual who has had health issues that have controlled his lifestyle, Hesham understands and empathizes with differently abled people and has often worked with and supported organizations working in this field. Hesham Malik will be displaying 20 of his artworks in an exhibition titled “Mukha – The Intimacy”. 

“Mukhâ” has travelled from Beijing to Prague and from Prague to Goa, where one of the world’s most esteemed artists Hesham Malik has his roots intact. Mukhâ has made its way to be a part of the Carpe Diem Art Gallery – Majorda, Goa.
“Mukhâ” is a Sanskrit word which means Face. The artist aims to depict the connection of the energy within us which flows right to the heart and leads to a body or facial expression. The series being displayed has 20 art pieces which were created by the artist years ago. The series, on paper and on canvas portrays his style of abstract figurative with the intricate work on the subject and balanced by falling flakes.  

Many collectors state that when they experience Hesham’s bold colourful figures, they feel a hidden power and spirituality. On the other hand the artist himself states “As an artist I believe I should direct people to look at their sparkling hidden soul rather than our world’s harsh reality. Moreover, recognition for an artist is not as important as the work itself.”
“Mukhâ” was initially inspired through the Indian Spiritual practices – “which have been collectively known as Sanatana Dharma” states Hesham. It is evident that the artist has identified art and culture as a pillar of his identity and positions his art accordingly. This is not only demonstrated by the extensive display of his art but also his involvement in guiding young artists of the new generation. 

“Mukhâ” – the face is what we all see and is often the basis of many of our judgments about someone or something. The artist argues that the character and intention of people should play a larger role than the face. However, at the same time he views the face and expression as two different things.
Greatness in the work of art cannot be measured by its ability to be understood by the masses. Most artists spend more time looking and trying to figure out what the customer wants rather than what they seek to say. Hesham is one of the few artists who lives what he creates before his colours tell a tale.

It’s one thing to see Hesham’s paintings or sketches in a book or online, but to see it in person is quite a different experience, to stand in front of his pieces is like sharing the same heart with the artist. The interesting thing about this art exhibition is to see how people connect with the artist’s experience and declaration. 

Hesham has selected one artwork " 8 Griffions" to be auctioned. The proceeds will be donated to an NGO - “Sethu” - Centre for Child Development and Family Guidance who are based in Goa and who have been tirelessly helping thousands of children over the last several years. Sethu is a charitable trust based in Goa, India, which helps children get the best out of their lives as they grow and develop. Sethu’s mission is to be a bridge between children and their families, their schools and their communities to foster their complete development through assessments, therapy, educational initiatives, training, awareness and capacity building.

“There are 7 figurative angels on the painting but the painting is titled 8 Griffons as the 8th angel is the viewer and in our case it would be the children at Sethu's.” – Hesham Malik

“Mukha – The Intimacy” will open at Carpe Diem Art Gallery – Majorda Goa on the 7th of Jan’17 along with the auction for charity.  The exhibition will remain open till 3rd Feb’17.

Shankar Palsikar (1916-1984) - “A Centenary year of Artist’s Birth” National Gallery of Modern Art, Mumbai

Shankar Palsikar (1916-1984) - “A Centenary year of Artist’s Birth”
National Gallery of Modern Art, Mumbai, Ministry of Culture and Government of India in association with Shankar Palsikar Art Foundation and The Raza Foundation, New Delhi presents Shankar Palsikar (1916-1984) - “A Centenary year of Artist’s Birth”, a major exhibition of a visionary who shaped the course of modern painting. 

Prof. Shankar Palsikar a teacher of par excellence for generations of students, he evolved original interpretations to the traditional and rich art of this sub-continent by giving it a harmonious turn, a subtle twist there, thus creating a new contemporary world of Indian art. Palsikar Sir, besides being a great orator, was a sensitive writer in Marathi and English. He was born in Sakoli Village in Vidarbha. After his matriculation he studied in Sir J. J. School of Art, Mumbai (1942-1947). He was awarded several prizes including the most coveted one- the Meyo Medal- for his first class scholastic career in 1947 at Sir J.J. School of Art, the First Cultural Scholarship in Fine Art, by Govt. of India(1949), Gold Medal of Bombay Art Society(1950), Gold Medal by Fine Art Society of Calcutta(1950).

He was also honoured with Gold Medal and Life Membership by the Art Academy of Italy for his outstanding services in the field of Art and Art-Education. Beside the major honours mentioned above, he was awarded Silver and Bronze Medals on many art events in India and was nominated as one of the nine eminent artists of India by Lalit Kala Akademi, New Delhi. In 1965, he represented India in International Plastic Art Conference held in England. He was appointed as Dean of the Sir J. J. School of Art in 1968 and retired in 1975. As an art educationist, he was invited by Govt. of Sri Lanka to plan the academic programme for the art institutions in that country. He was nominated as one of the nine eminent artists of India by Lalit Kla Akademi, New Delhi and a member of advisory committees of various universities in India. 

The Indian Art fraternity that consists of both artists and art connoisseurs alike is aware that, like the master painters S.H. Raza, M. F. Hussain, V. Gaitonde and K. K. Hebbar, Prof. Palsikar had deeply contributed to the evolution of Indian Art, but unlike them, had always preferred to remain a devoted teacher to his adoring students. Being a pedagogue, unwilling to be in the artistic limelight, he never deigned to have a public viewing of his works, but a posthumous retrospective, during the year of his passing, was organised by Prof. Vasant Parab, then Dean Sir J. J. School of Art in coordination with the Govt. of Maharashtra at the Jehangir Art Gallery Mumbai in 1984. It would be great privilege to artists and art lover to view his paintings at the centenary Exhibition at NGMA from 23rd Dec. 2016 – 31st Jan. 2017. 

It is a major exhibition of a visionary who shaped the course of modern painting. The exhibition is curated and designed by Arvind Hate. During the tenure of this exhibition, special art and cultural programmes such as musical evenings, book launches, dance and lectures would be organised at National Gallery of Modern Art, Mumbai. These programmes have been designed in respond to Prof. Palshikar's persuasive conviction about inter-relationship of all art forms. He always used to remind us that artists from various art-practices must reciprocally react to each other and sense the common goal that creates fundamental understanding of art and aesthetic that strengthens the cultural growth of an individual in particular and society in general.

Convenor: Prabhakar Kolte
Venue: National Gallery of Modern Art, Sir Cowasji Jehangir Hall, Mumbai
Inauguration: 23rd December , 2016, 6:00 PM
Open for Public from 24th December, 2016 till 31st January, 2017
Timing: 11:00 AM- 6:00 PM (Closed on Monday & Public Holidays)

Monday 19 December 2016


Art Gate Gallery
115, Jamshedji Tata Road, 1st Floor, Above Satyam Collection, Next to Eros Cinema, Churchgate, Mumbai, India 400020

Friday 16 December 2016


Sir Cowasji Jahangir Public Hall, M G Road, Fort, Mumbai, Maharashtra 400032

National Gallery of Modern Art, Mumbai was opened to the public in 1996. It hosts various exhibitions and art collections of famous artists, sculptors and different civilisations. It is located near Regal Cinema in Colaba

Phone: 022 2288 1969

Monday 5 December 2016


H.No. 81/2,
Godinho House,
Gomes Waddo,
Majorda Goa
Tuesday - Sunday, 10 am - 7 pm.
Mondays Closed.

Monday 14 November 2016

Press Release : "Eclectics" - selecting what appears to be best in various methods and styles from diverse areas.

Carpe Diem is pleased to host a group of very unique artists from across the Indian subcontinent whose work could be aptly be described by the title - "Eclectics" - selecting what appears to be best in various methods and styles from diverse areas. The exhibition will open on 26th November '16 and continue till 8th December '16. With styles varying from photography and print techniques to metal and ceramic art, this exhibition promises to appeal to a wide audience and raise the bar on group art shows in Goa..It is our pleasure to bring to Goa a very “eclectic” group of artists from across the Indian sub-continent onto a single platform through this exhibition.

Tathi Premchand, Gallery Director Daegal Godinho and Raj Bhandare at Carpe Diem Gallery- Goa

Jayant B. Joshi, an acclaimed artist whose musical background, attention to nuances of the abstract and fascination with intellectual minds causes him to challenge, question and constantly recreate his understanding of himself and all around him. His paintings speak of depth, fusion of the sharp and blurred, texture, and bring out in the viewer mixed emotions arising from the muted shades of rust and blue.

Durga Kainthola has the rare ability to scale her artwork from miniatures to grand scales, 2D to 3D, from linear timelines to capturing the sense of an eternal moment where time itself stops. Her keen observation of the popular in today’s world juxtaposes itself with challenging notions of what should be. Her artwork forces the viewer to reconsider their opinions on beliefs created and taken for granted through the subtle and harsh visuals they are subjected to in everyday life. Through her work she challenges our preconceived notions of beauty and the value of women in our society.

Farzana Ahmed Urmi crosses over the international border from Bangladesh to be part of this exhibition. Her work is extremely bold with lines and layers showing off her confidence even when she chooses to portray the human face in manners that common standards of beauty adhere to. With an emphasis on the feel and texture of these forms, Farzana brings in elements of the abstract and plays with multiple hues within a limited choice of colours. Her more abstract works on the other hand have seemingly endless possible forms lurking in the background leaving a lot to the imagination of the viewer.

Tathi Premchand presents us with a series of drawings that highlight an intricate web between the dot and the line. And in some cases the influence of colour on a black and white drawings. With seemingly simple lines he creates patterns and forms that when viewed from afar create visual associations to the familiar and yet forces one to redefine the meaning we give to it. Tathi explores “space” in the broader infinite sense of space itself to the confines of thought processes racing through one’s mind. The intensity of ink in some places contrasts greatly with the emptiness around and as the eye moves from one point to the next, size, space and form and scale take on new meaning.

Raj Bhandare’s statement as an artist speaks of the need to transcend the urge to acquire and enjoy and instead to create and revel in moments of joy and peace. His works therefore aim to uplift the viewer with light visualizations of familiar forms etched on copper plates. Common subjects such as the animals seen as sacred to intimate interactions between two human beings become subject matter for thought, reflection and entertainment.

Monika Bijlani works with layers, textures and patterns. In these, she finds comfort, stability, depth and complexity. Her work almost always has elements of lines layered with detailed patterns and colour. As she aptly describes it, there is an accomplishment in a line which starts at one point and completes itself at another without being interrupted. And with the use of a free less controlled wash of colour, the unpredictability of life is captured on canvas. In the artist’s words… “and when the details become too overwhelming, to lend relief by an unstructured flow of colour or form.. to add rough seemingly hastily done patches to an otherwise well planned finely detailed work. Isn’t this what life is all about …”

Srabani Sarkar brings to the mix a different print form of art – the woodcut. She believes that the choice of medium helps concretise something more fictional into a reality of sorts. With a keen eye and ear on current affairs and on critical social issues, she aims to capture themes of inner strength, justice to women and more. Imagery suggestive of power and toughness take centre stage and the use of wood textures serves to enhance the final visual experience.
Srabani Sarkar at Studio Kolkata

Vijaya Chauhan pushes the visual experience to join hands with the other senses such as touch . With a deliberate effort to allow even the visually impaired to discover, feel and enjoy emotions that art can bring, Vijaya uses multiple media such as terracotta, steel, and wood to create an experience that transcends how most people assimilate information. The influence of communication formats such as Braille can be felt in her art and hence appropriately her work often has titles such as “silent words” and “unread sentences”
Recent work by Vijaya

Pratik Bakshi describes his art emerging out of absolute need. His works are often not focused on a particular subject as he attempts to draw from a state that does not allow him to consciously focus on a concept or emotion and its expression. He creates a narrative by expressing composite forms with animal-human conditioning. Sexuality is a source of inspiration with symbols like the tail and phallus echoing the cyclic mystery of life. Use of charcoal, balanced with little forms and areas of colour allow for the viewer to interpret his art in a more subjective manner.

In our efforts to showcase and promote art at a more national and international level, Carpe Diem Art Gallery - Majorda Goa is therefore extremely proud to be hosting this exhibition and promises to keep and even raise the standard of art events in and around Goa. We hope that you, our esteemed client and viewer will be impressed and support the artist and gallery in this endeavour.

This show is conceptualised by Raj Bhandare and Curated by Carpe Diem with Tathi Premchand

All copyright / Carpe Diem Art Gallery -2016

Saturday 5 November 2016


In our endeavour to bring you a whole range of programming, Rhapsody in Blue, Laxman Shreshtha and all that Jazz, is a musical evening that seeks to establish the connections between different art forms and how each has enriched the other. The event on the 8th of November 2016, gives us an alternate perspective on the current exhibition at the Nicholson Gallery - Laxman Shreshtha: The Infinite Project. 

As the Curator of the exhibition Ranjit Hoskote puts it, "Musicality plays a fundamental, even formative role in Shreshtha’s idiom. Often, as he paints, Shreshtha weaves the intricate rhythms of the Baroque or of Jazz in his mind’s ear." 

Join us at 6 pm on the 8th of November 2016, as Cyril Coutinho's saxophone picks out the musical notes and the silence in Laxman Shreshtha's work.

Tea will be served at 5.30 pm.

Monday 31 October 2016

PIN POSTER : New Delhi

G.R. Iranna (Iranna Rukumpur)

1970 Born in Sindgi, District Bijapur, Karnataka
Artist lives and works in New Delhi

Sunday 30 October 2016


H.No. 81/2,
Godinho House,
Gomes Waddo,
Majorda Goa
Tuesday - Sunday, 10 am - 7 pm.
Mondays Closed.


Museum of Goa
Plot No. 79, Pilerne Industrial Estate,
Pilerne, Bardez,
Goa – 403511


National Gallery of Modern Art, Mumbai was opened to the public in 1996. It hosts various exhibitions and art collections of famous artists, sculptors and different civilisations. It is located near Regal Cinema in Colaba. Wikipedia
Address: Sir Cowasji Jahangir Public Hall, M G Road, Fort, Mumbai, Maharashtra 400032
Hours: Closed today 
Phone: 022 2288 1969

Monday 17 October 2016

Nissar Allana's Talk on 8th Oct 2016 at NGMA, Mumbai

One of the most important aspects of Ebrahim Alkazi's work in the theatre, is the emphasis he laid on the setting for his plays. This was an aspect of modern Indian theatre that was in the germinal stage, as there had been practically no training in the field of set design in India post Independence. Set Design for Alkazi was also very important, because he stressed that the importance of set design in theatre as an integration of all the arts, and therefore theatre was not just about the performer. Set design, lighting, costume design and music were as integral to a play as was the actor, and in fact these other elements, drawn from the other arts, facilitated the actor in his expression of the play and in interpreting his role as a character in a play.

Alkazi was greatly influence bu the Swiss Theatre designer and architect Adolphe Appia, whose theories on scenography were to change the course of European theatre at the turn of the 20th century. Alkazi interpreted Appia's concepts of theatre and adapted these ideas to his own work. The theatres Alkazi designed, played an important part of the stage design, because these theatres provided a new possibility for integrating stage design with the action of the plays.

Essentially Alkazi's stage designs could be categorized formally into different styles that he used in his designs, and the talk analyzes these ideas.

For Press Listing

Please find details for the upcoming talk:

Name of the talk: Alkazi Designs The Stage – An Illustrated Talk by Nissar Allana on the Scenography of E. Alkazi

Date: 8th October, 2016

Time: 6 pm

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

Pradeep Nerurkar- RIP

Before I became firm on my advent into Nature and finding ‘Self’, I was not completely convinced of completeness of my paintings. I felt there was still a void in completely being one with nature or Self and that was the realisation that, if I extract my inspiration and themes of painting from nature then why should the medium be artificial? So, it would be the best to use natural medium instead of artificial ones. With this thought I explored the natural mediums for painting and ultimately decided to adopt naturally processed Cotton matt, a pure white and unsullied fiber, as a medium of expression; may be using Cotton matt was nature’s signal to me to dot on it.  

Wednesday 12 October 2016

Divine Humanity: Paintings by Sujata Achrekar at Jehangir Art Gallery, Mumbai, from Oct 11 2016 to Oct 17 2016.

Divine Humanity- Paintings by Sujata Achrekar.

Hindu culture has always attracted the attention of intellectuals from various fields. It is vast and has various perspectives. Every perspective has an image or a metaphoric representation. Fine art of India is rich due to allegories from our mythology and folk tales. Painting artist Sujata touches upon one of the most complicated theme- the divine descent on earth or in simple words- Manifestation of God on this earth. We, modern Indians find it difficult to believe that God takes birth on earth in mortal form and lives the life full of challenges along with us and at the same time works to rescue us from evil and problems. Is this topic significant to a common man? Can a common man try and attain divinity?

We see in this series every form or Avtāra, right from the very first Matsyavtāra to Shri Krishna the ninth form. She has worked only on incarnation of Lord Vishnu. But in all we have 25 incarnations that are important part Hinduism and Indian culture. Sufism, Buddhist scriptures, Jainism also preaches and states about manifestations. This would make series voluminous. So, as an inspiration a few selected manifestations of God are presented in this series. 
The reason to ponder Avtāra is the grave situation that the world is facing. The tenth Avtāra Kālki is expected to arise in this age (a fierce form of death riding upon a white horse) and is supposed to destroy all evil and save the world. Right from Satjug (Satya-truth, yug-age) till today Kaljug, God has manifested himself in one or the other form, not necessarily in the form of human being alone. Animal forms, like the Matsyavtāra (fish) or Varah (Bore) or Hamsa (Swan) or animal-human Narshinmhā (Lion headed human) are also the manifestation of God in different periods.

The question arises, that if God is so powerful and can alter the world according to his will and can avoid descending on earth, then why does he need to acquire immortal body and make a subtle presence on earth from time to time? Every age has different story, and every avtāra of that particular period has a very interesting reason.

Speaking about the present age, we are the eye-witness to the fearful and dangerous situation cropping up every day, this makes future of the earth dark. No scientific progress or technology will give a correct solution to these critical problems. So, the probable incarnation Kālki cannot be rejected as unreasonable thought. By presenting all nine forms, Sujata also presents her thought on this near-future fact of having such divine presence on this earth, who would rescue world from deluge and evil. Her paintings can be taken as an inspiration to this positive thought.

Her thinking is not based on heard and read philosophy of enlightenment. Sujata herself is a staunch believer and strictly follows all the good practices that would lead to enlightenment. She frankly confesses that it is easy to listen and understand to philosophy preached in Indian culture but it is very difficult to adopt and comprehend. Our life is full of Māyā (delusion) and it is not possible to spend our life purely to help others free from evil and injustice, so the self-love and selfish desires are bound to restrict our actions. This self-love and desires have to be overcome to gain true knowledge and be live Supreme power, attain self-consciousness. The paintings do not only reveal the power of manifested God, but represent the state of consciousness that is possible to attain with practice and dedication.  She is hopeful of this tenth incarnation because she observes that like her there are many people who practice virtuous lifestyle to attain highest spiritual knowledge. Practice makes the man perfect, attaining highest knowledge is also possible.

Viewing this series from purely artistic point of view also becomes an interesting affair. It is very fascinating to view this series as it has all the qualities and techniques of Indian miniature paintings. Sujata loves Indian miniature painting. The theme itself is based on ancient Indian allegories. The pale colours are highlighted by the darker shades. Mostly we find blue, grey or green colour images. Blue is prominent colour supported with grey, black and other basic colours. The background of bold images of human images are filled with Avtāras and the scripts depicting ancient Indian scriptures and it gives a mythological effect to the paintings.

Art lovers and people genuinely interested in Indian mythology and culture should must watch this show for cleansing their own souls and to get inspired to tread the path of divinity.

As told to Pankaja JK. 

Monday 26 September 2016

Laxman Shreshtha: The Infinite Project, on the 14th of October, 2016 at the Jehangir Nicholson Gallery, CSMVS.

We are delighted to welcome you to the 2nd phase of the exhibition Laxman Shreshtha: The Infinite Project, on the 14th of October, 2016 at the Jehangir Nicholson Gallery, CSMVS.

The Curator, Ranjit Hoskote will walk us through the exhibition that celebrates work by the artist from the 90's and after. This second phase of the retrospective on one of India's most accomplished abstractionists, draws on the substantial range of of Shreshthas in the JNAF collection and features work that the Foundation has recently acquired.     

Please join us on the 14th of October at 6pm. Tea will be served at 5.30 pm.

Thursday 1 September 2016

The Men Who Knew Infinity, a talk by Dillip D’Souza on the 15th of September 2016,

It is with great pleasure that we invite you to The Men Who Knew Infinity, a talk by Dillip D’Souza on the 15th of September 2016, at the Visitor’s Centre, CSMVSThe first event conceived around the exhibition Laxman Shreshtha: The Infinite Project, looks at individuals outside the world of art who, like Shreshtha have resisted finite boundaries “casting their nets as wide as infinity” to explore their metier. D’Souza turns to the world of Mathematics to tell the story of the The Men Who Knew Infinity.

Trained as an engineer and a computer scientist, Dillip D’Souza is a writer and journalist with a popular column on Mathematics. He has won several awards for his work, including The Daily Beast Award, the Statesman Rural Reporting Award, and the Outlook/ Picador Non-fiction Prize.

Do join us on the 15th of September at 6 pm, at the Visitor’s Centre, CSMVS

Tuesday 16 August 2016

Lines And Colours A show by RAMKUMAR

Aakriti Art Gallery presents a solo exhibition of the master artist Ramkumar, from 16th August till 31st August , 2016. Titled ' Lines and Colors ' , the works will be exhibited at Aakriti's Kolkata gallery premises . The exhibit works will consist of his recent oils and a large number of small format works,done in pastel and ink on paper. These stimulating works, which come from Ram kumar's collection, are unique not only in terms of their execution but also in terms of their creative and highly emotive fervor. The small format works carry figures along with abstract terrains and create a mood which is rarely found in his paintings.
Artist: Ram Kumar 

In the seven decades of his journey as an artist, Ramkumar has never failed in charting out true emotions, moods, thoughts and sensory perceptions, which communicates easily and directly. His colors speak a volume, and the line whether surging forth or submerged, always attracts in the most singular way.The very presence of his work creates an ambiance of it's own, and one feels a kind of solace in front of his creation and each work provides sublime satisfaction to the onlooker.

The show is curated by noted poet and art critic Prayag Shukla .The book , also penned by Mr. Shukla , has been published on the use of line and color in the oeuvre of Ramkumar. His writing talks about the small format works, which are going to be exhibited, also brings to us some truly perceptive observations about Ramkumar's art in general.

The exhibition can be viewed from Monday to Saturday, 
11 am to 7 pm excepting Sundays
Also available online at

Aakriti Art Gallery
Orbit Enclave, First Floor
12/3A, Picasso Bithi (Hungerford Street)
Kolkata-700 017
Phones : +91 33 22893027, 22895041
Fax No : +91 33 22895042


Everything becomes so clear and understandable when one empathises with the society around. Ashok Hinge displays this nature and has been incessantly working on observing and portraying common man, and his mundane activities and pursuits. His empathy seems to reach the meridian with his latest development of the same concept in a very unique manner. In this series, there is an incredible use of one impressive protagonist - ‘Comma’, the punctuation mark, to represent life in general. Ashok names this series ‘Commascapes’, as these graphic representations have extensive viewpoint of activities in the form of Comma.
Artist : Ashok Hinge

Comma is a punctuation mark that indicates a pause between two lines, sentences or even words. This function is applied by Hinge in real-life representation, to indicate that motility of life also pauses when routine is interrupted by the unusual, special or unique activities. In Commascapes, Ashok Hinge metamorphose in Comma and moves in the society in this disguise, observes and develops activities in the same form (Comma).
Artist : Ashok Hinge Recent Artworks

The graphics display voluntary and involuntary involvement of every layman in one or the other activity that one engages in, to enhance life. Generally comma is used as a connector and a divider in a sentence. Thus, Hinge uses it as a divider and a connector.  The division is shown in the strata of the society, character variations, religions, life-style, professions, emotions etc. Connection between these divisions by virtue, form a society as whole is also clearly indicated in the graphics. So, Comma becomes a supreme symbol of fact of life and facets that are important for complete human existence. Hinge has used it creatively to show the connectivity, clarity, passing of phases and modality.

by Pankaja JK/ Art Blogazine/ Mumbai

Ashok Hinge's Solo Show
1st Sept to 30th Sept 2016

Email for more info:
For personal consultation with Jagdish Agarwal, you can visit with appointment:

DINODIA  1x1 Galley 
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Today 11:00AM - 6:00PM

Sunday 14 August 2016

Independence Day, 15 August 2016

Independence Day, is annually observed on 15 August as a national holiday in India commemorating the nation's independence from the British Empire on 15 August 1947.

Monday 1 August 2016

Since 1950 until his retirement from teaching in 1989, he helped in shaping the aesthetic vision of the art departments at Maharaja Sayajirao University...

When this exhibition was conceived, legendary Master K. G. Subramanyan was at his peak. The news of his death after a brief illness on 29th June in Baroda brought a sense of despair and gloom for us. Through this exhibition, Aakriti Art gallery & Seagull Foundation for the Art offers its homage to the venerable Master. An exhibition of the Master is always a veritable feast for the senses, even the angels would stop in the middle of their flight end enjoy his eloquent and spirited reverberations.  In the present body of work, one may notice the capacity of harnessing single forms to plural functions which has been the hallmark of Master’s work and is visible here in the present show as well. The practice imparted his work a private, even reclusive character, and the push of this compulsion against the narrow range of overall effect is what gives Master’s paintings their sway. 

However narratively inclined many of these pieces done in either ink on handmade paper or coloured gouaches or reversely done on acrylic sheets, their importance as a whole is that they remind us of one occasion of permanence that seems to lurk in an elucidation. Ultimately it is the Master’s sensibility that gives these works their distinction- We can certainly think painting, but he showed that one can also paint thought, including the exhilarating and delightful form of thought that is painting chronicling his  impressions unfolding  perspective on life as he sees it through a literal prism. It gives us a feeling of catharsis, purification of soul.  In all the paintings Master’s empirical method makes itself felt as support of underpainting and the like are more or less visible. These worked palimpsests underscore the importance of drawing to his enterprise, even while confounding this initial perception of its holistic nature. In the present work, faring that he might become too adept at this language and so sacrifice that sense of unlaboured freshness which has defined his  work so far to questions of veracity and substance.

Recent work by K G S

Even at the age of ninety two, he was at the peak. His paintings were done on walls, on glass, acrylic sheets, handmade paper, and canvasses.  The quality of his attention, the unlikely subtlety and boldness, the harmony he created of tensions,  ambiguities, volume, light, elusive moments speak of an alienation, a simulacra. The presence of the painted surface on these handmade papers is sheer because the perceptual components of the images are woven into the surface exposing the phenomena of sheer surface where the existential meets the topical and the present moment are fleeting, the lights announce as they pass by . In the ‘reverse paintings on acrylic sheet’, figurative references, always elusive become less and less direct as in the other paintings, simultaneously the implied vantage point become more ambiguous.  The whole process of his recent work represents a physical engagement with technical aspect and the psychological meditative aspect which always elevates.  The large ‘Untitled’ sized 24x 30 inches- tilts away from the viewer , its central spine receding toward the top as it courses across everly spaced parallel, horizontal black lines establishes a kind of non spatial field , where illusionistic flatness a white grid in the lower right quadrant struggles to counter act. He considers his jagged figures- fierce goddesses with as much relish and pith as a canny, a leitmotif of animals such as monkeys, dogs or lions, enticing horned goats to be actual objects positioned on a stained field. Juxtaposed to the whiteness are a few darker lightning like brushstrokes that reveal the keen sense of instinctive balance and inner vivaciousness that are true hallmark.  “My main interest was once in the passage of the objective to the abstract. Abstract to mean here an image of relative anonymity. Which allowed it a variety of interpretations. Gave it the ability to play various visual roles.” -He once said in an interview to Prof.R. Sivakumar in Scroll.  The works embody a strong sense of drama. For the most part scenes are depicted from a low vantage point, so that the figures loom over the viewer, fabulous in stature. On occasion, the viewer cannot help feeling while viewing the paintings that the proscenium has broken down, not to let the viewer enter, but to permit an entry from the wings. The diagram that joins the matrices is never an optical effect, which appears as chance, accident or the involvement of figures that are isolated despite the subtlety of their aggregates. The important fact is that they do not consign the painted figure to immobility but on the contrary, render an astute kind of amelioration rather than being the basis for a dynamic compositional system or a clearly labeled marker of the psyche and thus becoming increasingly autonomous .The whole body is ripened by solitude extended by a repertoire that resonates with multi-layered images and forms. The exhibition acts as a reliable and clear sighted guide to that exploration of our innermost mind as well.

Since 1950 until his retirement from teaching in 1989, he helped in shaping the aesthetic vision of the art departments at Maharaja Sayajirao University and Visva-Bharati and inspired and mentored generations of artists and scholars through his prolific writings, lectures, and art. In his early life he took part in the Quit India movement and was imprisoned. Later he went to Santiniketan and studied art under Nandalal Bose and Ramkinkar Baij. His role as a Master practitioner was paramount, bristling with his contribution all over with unyielding restriction even when he was in his nineties.  He truly heralded a genre through his wit, scholarship and brilliance, appearing at a critical juncture of our art movements. In a pictorial world that is vividly rich in colour and detail, his imaginative and extraordinary narrative outpourings continue to grasp us with a certain magic realism, captivating us in thrall. He has been able to choose a spectrum and create a symphony with predominating colour as a keynote, the texture laid with luminosity, imagination and precision both by unique brilliance of his colour technique, recalling vast fields of painted space and evolution of form. The humanity and enactment of the human gesture in the Master’s work, which infuse them, may be traced in some magnitude  to his own understanding  and the love for humanity he imbibed early in his life- the world of our human experience, the beauty of human concern is a sacred value for a cultivated mind of his stature. They create their own untimely rhythm in these works, in what we feel is coolly an objective way to attempt to regain the freshness, craft and intellect of early modernists, particularly the academicians. The venerable Master once said “When nations grow old, art grows cold”. In its prudence, steady development, benign lucidity, and range of historical inspirations, he saw these academic images through a very modern lens of fragmentation, abstraction and an existentialist’s concern for self-realization. The result is a telling hybridization that should be seen as one of the more erudite achievements in contemporary art in the past four decades. There is a lot of truth in the commonly held view of K.G. Subramanyan as a bridge figure between avant garde and the emergent radical Indian Contemporary Art, but it is also an oversimplification. He repudiated avant-garde in the early sixties in the thick of modernism totally. “The kind of education we impart makes people despise manual arts and skills” He once said.” The situation can only worsen in the context of the country’s new economic objectives which will make changes quicker and more drastic and in the process the present art panorama is sure to be devastated” Despite his vast contribution in the making of a language that marks the emergence of an Indian contemporary art in the sixties that denounced western brand of abstractionism and created a vocabulary that remained one of the legacies to younger Indian artists who had looked at his art and then moved from it along very different paths carrying with them the bits of poetic effusion of his work.
Aakriti Art Gallery- Delhi

Though he continued to paint largely in gouache more like that of the paintings of the mid to late 80’s and later, we are encountered by “those enchanted places”, “those delightful spaces” he never wanted to be any more precise. In other terms, in another language, this would translate as the minimal hypothesis of logic of the subconscious, that our psychic symptoms have causes, origins even that the dreams do not cheat with metaphor, and so it pays to be meticulous and rigorous.   These works gradually emerge and arouses our reception, only by identifying, tracking down and laying bare the supreme workings of a great Master and precepts that are scattered far and wide. Whether this integral humanism, sustained only by the sheer energy of despair, does not fail to recognize at least one major resource which exists, almost visibly, in the very fact of our language. Here in this exhibition painted spaces are mainly large to relatively small formats, working with closer to the surface with a sense of intimacy in small and a sense of distance and space.  Some of the works have a sense of monumentality and markers used instinctively to stimulate the surface. Within these painted spaces there is intense application of mind, a narration, nuances; obviously, the energy made visible reaches a certain grandeur, and one has to watch closely the expressive visual modulation of the colour grid into which are woven interlocking planes which are so fragile that they may go unobtrusive . In fact the experience becomes meditative. Instead, he restored these through whisper and gesture, emblem and citation that form into a covert assembly through his unique brilliance of colour technique, recalling vast fields of painted space and evolution of form. Its image and its verbal signifier. reality and illusion, between irony and tragedy appeared with surprising agility.  The various constituents of the paintings are overtly acknowledged accompanied with a cool literalism. The markers here are distilled and then examined as all these fascinate and for us the viewing takes on various roles of spectator and participant, reading a text as well as writing, remarkable and attached.  For him to define the space which is established on the outer edges orchestrating a visual breath as it were a living curious, deviant palpitating thing.  This is celebration here,

 Socialization , joyous discourses. Here is domain of cultural poises. We shuttle between the different spaces, each mode captures an aspect of the idea, and the complementary versions overlap. May be appropriate to say not that we purloin the image but that as language. While he applies a stroke, the gesture is like a toss, breathing like the painting of a poet , it purloins us. It covertly ties the subject into its text and distances from its self as a representation but a vision before which one recites out , even with the perceptible and sensible objects whose action crumbles our love and affliction.  His work gradually emerge and arouses our reception, only by identifying, tracking down and laying bare the supreme workings of a great Master and precepts that are dispersed far and wide in the vast sea of intersexuality that has been able to gather those legacies and make them blossom in such a way as to give our life to something original and sublime. These are works not to be locked away only for posterity or for academic rigueur. These are spaces for us to enter and fathom unfathomable depths.

Recent work by K G S

There is a stripping away of layers to reveal complex infrastructures of his work. A certain austerity, these paintings celebrate their artifice, and sweeping brushstrokes seem genuinely felt, warm and intimate. On the other there is something to observe in these works, even if it is not what we may commonly think, and even if seeing what we commonly see may blind us to another truth, a ‘more true’ truth that is none-the-less there, though its mode of being there may not resemble anything like a fixed contemporary presence. He had an ability to state the most enduring truths in a style that is measured and patiently gathers a luminous energy as we navigate feeling invigorated of our senses. His spontaneity and ability to create compelling compositions are features that we get to see in this show. His work reinforces the sense that the evocation of a quiet, nondenominational inwardness that trembles the soul and stir poets.

 The other new paintings have considerably more staid but gentle messages. Usually a single colour figure on a white ground, they read as particularized symbols of a universal if entirely nolatarian language and are splendorous. They assert their own beauty first, meanings follow- different perspectival readings are impose from image to image , so that we seem to peer down into paintings , but what concerns here is this absolute proximity, this co-precision, of the field that functions as a ground, and the figure that functions as a form on a single plane that is viewed in close range proceeded with the somber, the dark, or the indistinct face on the grid , the panel that is stark. The search is spontaneous and bodying forth of feeling, delivering the pleasures of  a gesture in a personal or expressive idiom and at the same time transform  figurative markers that ends a sentence into minimalist visual experiences which is particularly his genius and thus postulates that patrocentric use of language is motivated toward idealizing the subject , defining it so as to mark contradiction , then alternative strategies that could lead to a decentering of it may include the discursive use of a plurality of codes and readings disruptive  of set conventions tracing the invisible points of origin.  Its almost like a meditative search that these important issues are raised.  He does not reconcile us but gives us the gift of the irreconcilable of the mind and the desire for elevation. The beauty grows in time when on this beautiful constructed and thoughtful show , revealing the enduring of a great mind. The impact is immense.
- by Nanak Ganguly

The exhibition can be viewed from Monday to Saturday, 11 am to 7 pm excepting Sundays and is also available online at


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