- VS Gaitonde
- Ram Kumar
- Akbar Padamsee
- Amrita Sher-Gil
- Vanita Gupta
- Smita Kinkale
- Ratnadeep Adivrekar
- Tathi Premchand
- Nilesh Kinkale
- Prabhakar Kolte
- Chintan Upadhyay
- Prabhakar Barwe
- Shankar Palsikar
- Yashwant Deshmukh
- Prabhakar Kolte
- Sanchita Sharma
- Prakash Waghmare
- Ranjit Hoskote
- Premjish Achari
- Pankaja JK
- Contact
Monday 31 October 2016
Sunday 30 October 2016
PIN POSTER :NGMA MUMBAI
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.
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