Tuesday, 29 October 2019

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

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

Wednesday, 23 October 2019


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