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Pp2018vol3 Final.Pdf P R O J E C T S P R O C E S S E S V O L U M E T H R E E On Matters of Hand Projects / Processes Projects / Processes Volume III Research and Writing From SAF 2018 commissioned by About Projects/Processes Projects / Processes is an initiative launched by Serendipity Arts Foundation in 2017 to publish commissioned research essays, longform writing, and in-depth criticism that explore the ideas and processes behind select curatorial projects at Serendipity Arts Festival. Over three years, the Festival has accumulated a rich database of creative energies and partnerships. As an eight-day long event, the Festival is a platform for multidisciplinary collaboration and cultural innovation, and has commissioned over 90 new works across the visual and performing arts since its inception in 2016. The Projects / Processes series offers an opportunity to give some of these works and the stories that they tell continued life, through a deeply engaged look at how they came together and their significance to the discourse of contemporary art in India moving forward. Each volume comprises essays covering distinct projects that stand in some dialogue with each other, through the questions they raise and the thematic landscape they cover. For the online PDF version of previous essays, please visit www. serendipityartsfestival.com. For any enquires about obtaining a complete set of volumes, kindly write in to [email protected]. About Serendipity Arts Festival About Serendipity Arts Foundation Serendipity Arts Festival (SAF) is one of the largest multi- Serendipity Arts Foundation is an organisation that facilitates disciplinary arts initiatives in the South Asian region. It spans the pluralistic cultural expressions, sparking conversations around visual, performing and culinary arts, whilst exploring genres with the arts across the South Asian region. Committed to innovation film, live arts, literature and fashion. Besides the core content, which and creativity, the aim of the Foundation is to support practice is conceptualised by an eminent curatorial panel, the Festival has and research in the arts, as well as to promote sustainability and various layers of programming, in the form of educational initiatives, education in the field through a range of cultural and collaborative workshops, special projects, and institutional engagements. Through initiatives. The Foundation hosts projects through the year, which active conversations between the artistic community and the urban, include institutional partnerships with artists and art organisations, social landscape, the festival continues to evolve around the mandate educational initiatives, grants and outreach programmes across India. of making art visible and accessible. The festival seeks collaborations at its core, inspiring new perspectives of seeing and experiencing. The Festival is a cultural experiment that also addresses issues such as arts education, patronage culture, interdisciplinary discourse, inclusivity and accessibility of the arts. Contents On Matters of Hand: Craft, 13 Design and Technique by Skye Arundhati Thomas The Charpai Project 35 by Bharathy Singaravel Matters of Hand: Craft, Design and Technique Curated by Rashmi Varma Venue Adil Shah Palace Curatorial Note white pottery. Environmental concerns and economic resources are further explored through the use of recycled materials, namely plastic and repurposed furniture that mirror the 21st century. Lost- Exhibition Design Reha Sodhi wax casting, weaving, metal beating, marble carving, block printing, Collaborators AKFD, Aman Khanna (Claymen), Avani, Chato Kuosto, lathe-turning, embroidering or inlaying are some of the techniques Heirloom Naga, Ira Studio, Ishan Khosla, Jeenath Beevi, Kamli Devi & employed. Geometry, symmetry, colour, and texture reveal the Jaipur Rugs Foundation, Meena Devi & Jaipur Rugs Foundation, Olivia inherent nature of these elegant forms and announce their presence Dar, Phantom Hands, Pio Coffrant & JIO Foundation, Rajiben Murji in an increasingly homogenised world. Vankar, Ramju Ali, Rooshad Shroff, Sandeep Sangaru, Senthil Kumar & Jaya Kumar, Shed, Suraj Prakash Maharana, Swapnaa Tamhane, Some works included here had been realised through formal working Salemamad D. Khatri & Mukesh P. Prajapati, Tara Books, The Kishkinda relationships within a two-way system of knowledge-transfer Trust, Tiipoi, Venkataka Krishna, Yasanche and Zilu Kumbhar between practitioners and other works made independently in urban Special Thanks Delhi Craft Council, Khamir, Gita Ram (Crafts Council and rural environments. A profound respect is shared for traditional of India), Poonam Verma, Mantu Charan, Vanita Varma, Malika Verma modes of techniques and cultural expression; however some works Kashyap and Paola Antonelli are not driven by these methods and thereby push process and find Curator Rashmi Varma new expression. Others adhere closer to ideas which have persisted throughout time and space demonstrating refinement and artistry, This exhibition venerated the handmade as experienced through whist some objects were spontaneously designed from a lack of objects of utility ranging from recent innovations to ubiquitous resources. objects found in public and private spaces. Matters of Hand: Craft, Design, and Technique included objects such as kitchen utensils, storage, furniture, or lighting that are imbued with thought process and an aesthetic integrity that extend from the karigars/craftspeople/ designers/artists/artisans themselves. The objects demonstrate that notions of ‘craft’ move along a continuum threaded into a dynamic past and a fast-approaching future. Whether an object has been in existence for millennia or created in our contemporary time, what was included in this exhibition exemplified a resistance to the ongoing discourse of modern vs. traditional that pervades handmade design. The hands, the eyes, the feet, or the movements of the human body are the primary tools for ingeniously transforming precious raw materials into objects drawn from the vast Indian landscape. The very essence of these natural, indigenous materials is integral to the design, such as the pliability of katlamara bamboo, the translucency of makrana marble, the sonorous rhythm of kansa bell metal, or the regional clays that transition from earth into burnt terracotta or milk 10 11 On Matters of Hand: Craft, Design and Technique SKYE ARUNDHATI THOMAS In a high-vaulted room on the top floor of the Adil Shah Palace, with large windows that open out to Goa’s smoothly blue Mandovi river, designer Rashmi Varma has placed a pair of handmade household brooms on a long white table, under an enormous crystal chandelier. The chandelier’s ostentatious extravagance is met by the clean curvature of the grass and date leaf brooms: finely wound together to create a unique geometry, braided and rolled for the appropriate width and base, different leaves joined by delicately placed knots and pins. With this simple juxtaposition, Varma erases the hierarchies implied between the objects, and the histories that sustain them. “Each object is a social environment as well as an economic one,” she says as we move through Matters of Hand: Craft, Design and Technique, her curated show at Serendipity Arts Festival 2018, for which she has carefully brought together objects from across India that reflect a certain formal sensibility. “I am trying to move away from strict definitions of ‘traditional’ or ‘modern’,” Varma adds as we pause in front of the brooms, “things have been modern for over 5,000 years.” At the entrance of the show are a series of mended objects: two stools, a chair, two lifeguard chairs and a sculpture from the collection of designer Ishan Khosla. The chairs and stools, part of a series entitled Construct Deconstruct Construct (2018), are most often sourced from public spaces, and have been repeatedly repaired by using scraps and pieces of plastic, rope, metal, wood, leaves, twine and cloth. Here, form is spontaneous, as is the process of making. The more you pay attention, the more the objects reveal their details: a plastic tarpaulin 13 Projects / Processes On Matters of Hand twisted into a piece of palm leaf and yellow rope to fix a broken roof, is especially attentive in making pottery for the aam admi: he protects or a staggered set of nails bent together to secure the broken limb of the vessels from wear and tear so that farmers can carry them out into a stool. Khosla finds that “these vernacular pieces of furniture are the fields without worry. Although certain craft items make it to urban gestural in nature … the sitter and the seat are reflections of each environments under expensive labels or handloom fairs, many are other, they both represent the beauty of imperfection.” By opening still in use in a local, regional way, as Ali’s practice shows. the show with these pieces, Varma seems to set the tone for the show—the premise here is to pay attention. She is less interested in Elsewhere in the room, a korai grass pais or mat—known in its objects that are beautiful, and more in those that are complex and full home state of Tamil Nadu as pattu pais after the town Pattamadai, of history. where it has been made for generations—softly shimmers in tones of a dusty-golden pink and beige, where a small floral, but highly A sense of quiet pervades through the show, allowing for the geometric, pattern repeats itself endlessly in an almost dizzyingly geometry and internal rhythms of the objects to speak for themselves. perfect symmetry. The mat sits soft and pliable, appearing as though Varma’s chosen objects lend easily to abstraction: each has a certain made of woven fabric. Where such weaving is most often done with rudimentary form or pattern of repetition which, when isolated, can dry material, in Pattamadai, the Labbai and Rowther, communities still stand on its own, without requiring additional embellishments. split korai grass into fine strips and wet these with water from the Narratives around Indian craft often veer toward an excess of a Thamirabarani River (traditionally named Tamaraparani), upon decorative saturation of colour, motif and symbol. Varma shows us whose banks the grass usually grows.
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