तह-सतह : A VERY DEEP SURFACE Mani Kaul & Ranbir Singh Kaleka: Between Film and Video
Curated by Ashish Rajadhyaksha ‘When nothing moves, time does’ Jawahar Kala Kendra is delighted to open the doors of its newly refurbished galleries and museum space with an exhibition of the moving image, तह-सतह: A Very Deep Surface, Mani Kaul and Ranbir Singh Kaleka: Between Film and Video. Pooja Sood Pooja Curated by eminent film historian and scholar Ashish Rajadhyaksha, this exhibition is a conversation between India’s leading avant- garde filmmaker Mani Kaul’s classic celluloid films from the 1970s and 80s and his digital experiments in the 2000s, reworked here in multichannel formats, alongside several video-on-canvas works by internationally renowned artist Ranbir Singh Kaleka. Consisting of over 10 single and multichannel video installations, a sound installation which includes poetry and music alongside video projections on canvas, this exhibition is an attempt to ask new
DIRECTOR GENERAL, JKK DIRECTOR questions about the moving image in 21st Century India.
A series of collateral events will unfold during the 6 week period of the exhibition. A first full retrospective of Kaul’s films, including his rare final digital works, will be on view at JKK. There will be a series of talks by the artist Ranbir Singh Kaleka and curator Ashish Rajadhyaksha as also by other eminent curators, writers and scholars. Daily walkthroughs for visitors by JKK’s curatorial staff will also be available.
This exhibition would not have been possible without the support of the National Film Development Corporation, Doordarshan and the Films Division, for which we are extremely grateful.
© 2017 JKK. All Rights Reserved तह-सतह: A Very Deep Surface is the first of several museum- quality exhibitions that will be showcased in the sprawling 20,000 No part of this publication may be reproduced or transmitted in any form or square feet museum and gallery spaces at JKK. The forthcoming by any means, electronic or mechanical, now known or hereafter invented, including photocopying and recording, without permission in writing from the programmes of the galleries and museum space will consist of publisher. carefully curated exhibitions across a rich mix of genres, ranging from new media, popular culture, photography, architecture and Exhibition commissioned by Pooja Sood, Director General, Jawahar Kala Kendra design, as well as painting and the plastic arts, thereby making JKK a Exhibition design by Mark Prime Contemporary Art Projects site also for learning and critical discourse. Exhibition brochure design by Sanket Jadia We look forward to welcoming you to Jawahar Kala Kendra.Your participation and support will enable it to become a centre of excellence for contemporary art practice, not just in Rajasthan but across India. Hospitality partner Special thanks the experimental Uski Roti (1969), into aesthetic theory and part defined an inaugural moment in documentary, Satah was followed the New Indian Cinema. Over the by a cycle of experimental films, next two decades, Kaul went on to Dhrupad (1982), Mati Manas (1984) make an array of films in a diversity and eventually the most famous of of genres that engaged with literary, these, the expansive Siddheshwari performative and musical sources. He (1989). All of these used music, and adapted contemporary Hindi writers more particularly the Dhrupad form such as Mohan Rakesh and Vinod – adapting the training he received in Kumar Shukla to film, had an enduring Dhrupad from Ustad Zia Mohiyuddin interest in Dostoevsky, the source of Dagar – to make deft incursions two expansive films,Nazar (1989) and into something that might be best the elaborate television mini-series described as a documentary rendition Ahamaq (1991). All this underpinned of mythic narratives. at all times with a major engagement in Dhrupad music. An important A further transformation would take (1989) source was his native Rajasthan: the place at the end of Siddheshwari. desert of a thousand lines, appearing When the actress Meeta Vasisth play- for the first time in the celebrated ing the singer Siddheshwari confronts Duvidha (1973), in Mati Manas (1984) the original on a video monitor, what Siddheshwari as well as in several shorter films. we get is also an announcement of the arrival of video, as technology THE DESERT OF A THOUSAND To many cineastes, however, the key and as art. Among the less known LINES work – and the unique cornerstone aspects of Kaul’s last cinema was of Kaul’s cinema – lies in a form his non-fiction work in digital video, When nothing moves, time that he invented with astonishing showcased in this exhibition by the does – Mani Kaul (‘Beneath prescience and well before its time in first-time presentation of two films he the Surface: Cinematography the 1980s, which he later updated to made in Holland: Ik Ben Geen Ander and Time’, 2008) digital platforms. This is a form that (I am No Other, 2002) and A Monkey’s we may loosely call the film-essay. Raincoat (2005). This exhibition sets up a conversation While the well-known genre retains
Ashish Rajadhyaksha between two men who are perhaps its essentially non-fictional dialogic CURATOR’S NOTE CURATOR’S the most elusive makers of the quality, in Kaul’s hands, however, THE MAN WITH A COCKEREL moving image in modern India. it appears unafraid to make sharp That conversation is also one forays into the domains of fiction Ranbir Singh Kaleka is a decade between celluloid film and video itself. In 1980 Kaul adapted the poetry, younger, but has curious similarities art: media revealed as being at fiction and essays of Hindi author to Kaul’s in his own career, in once fundamentally different and Gajanan Madhav Muktiboth to make addition to a shared aesthetic that intriguingly similar. Satah Se Utatha Admi (1980), a film was supplemented with years of whose genre defies categorisation. friendship. He was born in 1953 Mani Kaul (1944-2011) was born in Part epic (in the vein of Muktibodh’s in Patiala, studied at the College Jodhpur but spent his childhood and celebrated epic poem Andhere Mein), of Fine Art, Panjab University, early youth in Jaipur. His first film, part storytelling, part exploration Chandigarh, and came into national coming of age of video art in India. or simply bystanders, contemporary intended, says Kaleka, to be a ‘painting Kaleka’s next work was Powder Room figures who come from ‘somewhere living within time and time living (2000), an installation set inside a fun- else’, surrounded by spaces they don’t within the painting’, a ‘play between ctional wash room with a mirror. And know, able to survive only through stylisation and verisimilitude’. his third, Man With Cockerel (2002). projecting upon what is around them their memories of the past. Images Unlike Kaleka’s signature style, Man swirl round them like birds. These are THE CONVERSATION with Cockerel is just twenty nine images of windswept mountains, Mani Kaul thus spoke for both Kaleka seconds long and has no painted childhood and windmills. A man sits at and for himself when he pointed to a image. It stands alone, gleaming on a the end impassively, watching all this. fundamental ‘paradox’, in a paper he rectangular board projected on both wrote shortly before he died: sides, as we see again and again a In full display here is the key grammar fluttering rooster that a man tiptoes of Kaleka’s work, an oil painting that It is only when the object and in and tries to pick up. The rooster becomes a moving image, blank the camera are immobile escapes and the man goes out. spaces that become suffused with (without motion) that we However, like Man Threading a Needle, projectiles drawn from memory. It is make an entire contact with however, this too explores the most basic of all properties of the moving
(2002) image: the oldest silent films, such as the Lumiere shot of the boy and the hosepipe. Like in those films, we get a new exploration here into not just how, but why moving images move. Man With Cockerel A century on from Lumiere, however, as video art is announced, what we reckoning in his late 20s as a painter also get is veritably the cockerel who combined expressionist content jumping straight from the cinema of with a strongly reflective, slowed- the twentieth into the video art of the down, sense of time. In 1987 Kaleka twenty first century. went to the Royal College of Art to do his Masters in painting, but remained Three years after that work, Kaleka a largely reclusive painter having his made what was again a major foray first solo show only in 1995. into domains hitherto the sole property of the cinema, in a work that A seismic transformation would take was every way the mirror-opposite place in 1998. That year, Kaleka made of film. This was the magisterial a work that projected a video image Crossings (2005). It is an epic, with four onto a painting. The work was Man screens spread over four oil paintings
Threading a Needle (1999): perhaps upon which four video images play (1969) India’s single best known work of out. The oils themselves comprise video art since then, it was also isolated individuals, singly, together something of a clarion call for the or in line. These might be refugees Uski Roti passage oftime’. For mostmainstream encourage awareness adirect ofthe To mostmoving Kaul, images ‘do not of apassingduration. ideal situation foranexperience an immobilecamera offersan on animmobiletable, filmed by duration. immobileapple An and whichtheyexplore. the timesinwhichworks exist, essence, itopensuptheaudience to Showcasing timeinitspure durational too -suchstillnessis ‘indispensable’. may now say, for all moving imageart a disaster, he says. For films-and we productions, suchawareness canbe
Dhrupad (1982) WORKS HOUSE OF OPAQUE WATER Ranbir Singh Kaleka/Pradeep Saha (2013), Three-channel high-definition video on polished floor, stereo sound, 10’ 33” environmentalist Pradeep Saha, collaboration withwell known It was madein film. to documentary all hisvideoart comes in is theclosestKaleka get eroded by water. rising This deltaevenSundarbans asthey of low-lying islandsofthe white, tells oftheoccupants mostlyinblack-and-work, T his elegiac environmental phenomena ofclimate change. contemporary alongside very pain, astoic millennialfortitude, combines, at once, extreme it reconstructs asagathat the imageasthoughinwater, set above afloorthat reflects Shown over three channels engagement withthisregion. of who hashadalonghistory House of Opaque WaterHouse of Opaque 2013 (Detail), DAATA Conception/Editing: Piyush K. Kashyap, Sound: Madhu Apsara (2017), Five channel projection with single-track mono sound, 9’ for herhusband, abusdriver, sits through theday waiting woman inaPunjab villagewho The film was ostensibly abouta the tradition of ‘slow cinema’. history, aswell asaclassicin an iconic film work inIndian Roti Kaul’s famousfirstfilm, installation reworks Mani collaboratorKaul Apsara. This veteran soundmanandkey Kashyap, by supported by young filmmaker/editor Development Corporation, with theNational Film made incollaboration by Kendra, theJawahar Kala O riginal work commissioned (1969). The original filmis Uski Uski of tumultandpassion. expansive, windswept drama, stop itselfbecomes aspace of she variously occupies. The bus into amontage ofspaces that even asherfantasies merge dreaded/desired possibility, which Suchalives andasa beckons, bothasaspace in of herneighbour. The city projected uponthesuicide ofhermarriage her memories Sucha Singh’s masculinity, desires andfears, herhusband They includehersister Jinda’s projections.free-associative opens upandactivates Balo’s The installation, incontrast, so shecould give himhismeal. Daata (Detail), 2017 (Detail), Daata ‘ITI’ - THE END Conception/Editing: Piyush K. Kashyap, Sound: Madhu Apsara (2017), Three channel multimedia projection with stereo sound, 14’ with autobiographical videos Arrival, Siddheshwari, Admi, Dhrupad, MatiManas, the essay-films will combine sequences from to end it was’, refers to Kaul’s useofit translatableperhaps as ‘thus the Films Division. The title, made incollaboration with by Kendra, theJawahar Kala O riginal work commissioned Uski Roti Uski Satah Se Utatha Utatha Se Satah . Three screens . Three together expression possible. journeys that makesuch expression, andfinallythe diverse definitionsofartistic to from theRijksakademie), himself/theyoung artists Kaul (Muktibodh/Siddheshwari/ persona idea ofanartistic The themesmove from the A Monkey’s Raincoat NoOther Am Ander/I made inHolland: Ik Ben Geen Geen Ik Ben (2002)and (2005).
CROSSINGS Ranbir Singh Kaleka (2005), 4 channel video projection on painting, stereo sound, 15’ vat ofcolour. Kaleka’s central pond that into thenturns a dyed by beingdippedinto a whichisfirst histurban, tying of adulthood withtheritual into maturity, introduced into youth broughtsaga ofaSikh play out. A ‘coming ofage’ upon whichvideoimages spread over oilpaintings K aleka’s four-channel work tornadoes rage. on theright sitssilent, even as onforeignactions lands. Aman refugees, various perform move over mountains, become migrate,projections. They they travel through different become intensely mobileas completely. The painted figures strategy inverses thecinema SWEET UNEASE Ranbir Singh Kaleka (2011), Single channel HD video projection on painted canvas mounted on fractured wall, 11’ 11” between thetwo sumptuous wallover agouged-out man, doubled, are expended playful energies ofthesame consumption andviolence. The of act thiscyclic to perform man leaves hispainted self akhara the screen eat, enter acentral ontwo sidesof same actor) T wo men(played by the , andwrestle. Each entire villageinPunjab. had to by belookedafter the defence againstinvaders, who historically thefirstlineof These were traditionally to amuch-anticipated bout. be fed by a village leadingup of how two wrestlers would recalls achildhoodmemory food-lined interiors. Kaleka mallas :
MAN WITH COCKEREL (V1) Ranbir Singh Kaleka (2002), Two-channel projection, 29” rooster, itflutters inhishands, man tiptoes, to tries pickupa cinemas ofthecinema:here, a ofsilentexample oftheearliest moving usesaclassic image. It ofthe basic ofallproperties isonethat exploresIt themost of thisfamouswork ofKaleka. W e have theoriginal version backing ofproof’.backing about alived life needsno where thehypothesis offered evanescent, resembles a encounter, sanguine, serene, enters theliminalzone and the ofrepresentation‘language writes that the Kapur Geeta and bothitheescape. haiku HE WAS A GOOD MAN Ranbir Singh Kaleka (2008), Video projection on painting atop easel, stereo sound, 5’ 3” minimally. This remake isalmost miniature hole–hadmoved pushing asmallthread into a concentrated -that of ofacts greatest attention to that most a malefigure devoting the painting-that-moved, showing Threading aNeedle first majorvideo work, K aleka’s ofhis reworking . The original Man with nostalgic images. The form, suffused documentary struggles withthepresent, the the fullrepertoire ofKaleka’s of theold:inevidence here is the opposite oftheminimalism itself, asifinagallery. in,to seethepainting walking door openingandpeople painting/video endswith a
FOREST Ranbir Singh Kaleka (2009), Video projection in painting, stereo sound, 16’ motion picture motion picture for(best known hisscore to the composer ElliotGoldenthal work issetto musicby film upon alarge painting. The T his is a single-projector work his isasingle-projector Frida , 2002). burnt earth to water.burnt earth into abookslibrary, andfrom transmogrifies from a forest on burntground, asthework of man,flagellating himself works likeamythicIt fable HAWA ME GAANTH Vikram Joglekar, with programming on Max-MSP by Clifton D’Souza (2017), Eight-channel sound installation, running time variable Made byMade oneofKaul’s key by Kendra. theJawahar Kala O riginal work commissioned phase return markstheintensive and returns to itself. It’s from it.Space extends destined to disappear into world-space andare (even from abeginning) fromappear somewhere andobjects that beings Renounce thenotion – Mani Kaul of soundtracks, ofmusic this isamultichannelrendition music for composed boththesoundand films, (who Joglekar Vikram collaborators inhislater twist inaDhrupad twist commonly usedto a describe that Ustad Dagar ZiaMoiuddin The titlecomes from aphrase magnificence oftheDhrupad. from whispersto thefull Kaul’sof Mani films, moving and dialogue, from several Nazar Hawa Me Gaanth (Detail), 2017 Hawa (Detail), MeGaanth and taan Ahamaq . ), THE IDIOT GARDEN (2017), Earth work, comprising Amba’s Bench and the Broken Vase herself up in rivalry withthe herself upinrivalry interrogates setting Myshkin, at thisbenchthat Amba first is that isherfavourite It tryst. (Aglaya) withitsgreen bench the private garden ofAmba of theexhibition, reproduces this Garden, thecenterpiece Idiot I nspired by Kaul’s massive film (also known as (alsoknown Ahamaq ), to Amba/Aglaya. hismarriage epileptic fitduring smashes whenhegetsan the Chinesevase that Myshkin with Raghujan. There isalso has hissavage confrontations load arevolver, andwhere he how tells to Killer that Myshkin ofNastassiya; hereseductions
THE IDIOT ROOM (2017), 4 channel video on monitors each playing one episode from Mani Kaul’s 1991 filmAhamaq/Idiot , with chairs, sofas and diwans, 58’ version of hour, thecomplete four-part F over complex a bewilderingly this tour deforce ofcontrol is mistakenfor idiocy. With amanwhoseepilepsy Myskin, star Ayub asPrince Khan-Din also featured Asian British Khan’s first films, thefilm asoneofShah Rukh known our channelsplay, over an Idiot (1991). Best (1991). Best largely bypassed by history. ofafeudaldepiction elite, plot transposed into ascathing following the novel’s original Dostoevsky’s faithfully fiction, continues exploring Kaul and cinematic spaces, Mani about inbothgeographic key roles) constantly shifting (moreof characters than50 narrative andamassive cast Born in 1944, in Jodhpur, Rajasthan, Kaul grew up Ashish Rajadhyaksha (b. 1957) is an in Jaipur until he left to join the Film & Television independent writer and researcher. He is the Institute of India, Pune. In Pune, he was taught by author of Ritwik Ghatak: A Return to the Epic film director Ritwik Ghatak. Widely considered the (1984) and Indian Cinema in the Time of Celluloid: founder of an avant garde cinema in India with From Bollywood to the Emergency (2009), co- Uski Roti (His Bread), 1969, Kaul made a series of editor with Paul Willemen of the Encyclopaedia of experimental films in different genres, including Indian Cinema (1994/1999). He co-curated (with fiction films adapting literary texts, and several Geeta Kapur) Bombay/Mumbai (1992-2001) for (THE CURATOR) ‘film-essays’. He was a part of the YUKT Film Century City: Art & Culture in the Global Metropolis Collective in the early 1980s. He was trained in the (Tate Modern, 2002), Memories of Cinema (IVth ) Dhrupad form of Indian classical music, as student Guangzhou Triennial, 2011) and You Don’t Belong of Ustad Zia Mohiyuddin Dagar, and was also a (Film/Documentary/Video, a travelling film poet and painter. festival in China, 2011). 1944-2011 (
MANI KAUL RAJADHYAKSHA ASHISH
Born in Patiala, Punjab, Kaleka did his diploma Nasreen Munni Kabir in painting at the College of Fine Art, Panjab Udayan Vajpeyi University and his Masters in painting at the Royal Piyush Shah College of Art, London in 1987. A well known Paresh Kamdar painter, Kaleka moved to video art in the late Mita Vashisht 1990s with his famous work, Man Threading a Shaina Anand Needle (1998-99), which inaugurated the style Lalitha Krishna 1953) that he is best known for, that of projecting Anupama Bose (NFDC) b. ( video upon easel paintings. Kaleka’s style lays Raja Chhinal (NFDC) bare many of the founding elements what Anil Kumar N. (Films Division) used to be celluloid film: the single frame shot Jawhar Sircar (Doordarshan) encompassing a span of attention, spaces within Pieter Van Huystee and beyond, still characters amid a hyperactive Watse Eisma landscape, and hence an interrogation of the very Prakash Magdum (National Film Archive of India) idea of movement. The key elements of Kaleka’s Priya Sen painterly grammar are the oil on canvas: the still Ankur Ahuja work that moves. In moving, it opens up spaces- Santanu Ganguly within-spaces that are straight from the cinema; Volte Gallery , Mumbai cinematic sequences mediated by the aura of Kanupriya Mathur (Exhibition research and documentary testimony. coordination for JKK) RANBIR SINGH KALEKA
ACKNOWLEDGMENTS GRATEFUL Devdutt Trivedi
Photo credit: Rashmi Kaleka JAWAHAR KALA KENDRA
GOVERNING COUNCIL JKK TEAM Smt. Vasundhara Raje, Hon’ble Chief Minister Chairperson Smt. Pooja Sood Director General Hon’ble Minister Art & Culture Deputy Chairperson Smt. Mamta Rao Additional Director General, (Adm.) Additional Chief Secretary, Art & Culture Ex-Officio Member Smt. Anuradha Singh Additional Director General, (Tech.) Principal Secretary Finance Ex-Officio Member Chairman, Rajasthan Sangeet Natak Akademy, Jodhpur Ex-Officio Member PROGRAMME OFFICERS Chairman, Rajasthan Lalit Kala Akademy, Jaipur Ex-Officio Member Director General, JKK Member Secretary Shri Sandeep Madan Dr. Saryu Doshi Member Shri Chhavi Joshi Ms. Amal Allana Member Shri Abdul Lateef Usta Sh. Sunil Munjal Member
Member Sh. Subodh Gupta ADMINISTRATION Sh. Ambrish Arora Member Smt. Poonam Chaudhary Ms. Pheroza Godrej Member Shri Rajendra Prasad Sharma Sh. Salil Singhal Member Shri Vinay Kothari Sh. Ashok Kajaria Member Shri Hemant Kanvaria Sh. Anil Rai Gupta Member Shri Rampal Kumawat Sh. Vikram Golcha Member Shri Panchu Ram Padamshri Vishwa Mohan Bhatt Member Shri Bharat Singh Sh. Mukund Lath Member Shri Tilak Raj Shri Vijay Sharma EXECUTIVE COMMITTEE Shri Puneet Saini Director General, JKK Chairperson Shri Prem Chand Smt. Mira Mehrishi Deputy Chairperson Shri Anil Chaudhary Additional Director General (Adm.) Member Secretary Shri Rajkumar Ajmera Additional Director General (Tech.) Member Shri Arjun Lal Meena Sr. Account Officer Member Shri Bhairu Lal Jangid Smt. Bharti Kher Member Shri Rajeev Rathore Smt. Mita Kapur Member Shri Suraj Dhobi Shri Pramod KG Member Shri Nahar Singh Smt. Manisha Agarwal Member
THE IDIOT ROOM EXIT - GARDEN
HOUSE OF OPAQUE WATER
The Gallery Shop THE IDIOT GARDEN
‘ITI’ - THE END
ENTRANCE
FOREST CROSSINGS
DAATA MAN WITH COCKEREL (v1) Closed o Space SWEET UNEASE
1ST FLOOR ENTRANCE
HAWA ME GAANTH
EXIT - GARDEN MAP SCHEDULE OF EVENTS MANI KAUL RETROSPECTIVE
20 FRIDAY - - Inauguration 23 MONDAY - 6:30 PM - Uski Roti (1969): film screening of the original film in digitally restored form 21 SATURDAY - 5:30 PM - Exhibition walkthrough by Ashish Rajadhyaksha and JANUARY Ranbir Singh Kaleka JANUARY 24 TUESDAY - 6:30 PM - Shorts: The student films:Yatrik (1967) 6:30 PM - Artist Talk, Ranbir Singh Kaleka - Feature: Ashad Ka Ek Din (Mani Kaul, 1971)
22 SUNDAY - 5:30 PM - Exhibition walkthrough by Ashish Rajadhyaksha 25 WEDNESDAY - 6:30 PM - Shorts: The Nomad Puppeteers (1974), Historical 6:30 PM - “Behind तह-सतह: A Very Deep Surface: the Kaul/ Sketch of Indian Women (1975), Chitrakathi (1976) Kaleka Connection”: Illustrated Talk by Ashish - Feature: Ghashiram Kotwal (Yukt Film Collective, Rajadhyaksha 1976)
28 SATURDAY - 5:30 PM - Exhibition walkthrough by Ashish Rajadhyaksha 27 FRIDAY - 6:30 PM - Shorts: Arrival (1979) - Feature: Satah Se Uthata Admi (1980) 03 FRIDAY - 5:30 PM - Exhibition walkthrough: Ashish Rajadhyaksha with Udayan Vajpeyi 29 SUNDAY - 6:30 PM - Feature: Ahamaq (1991) 6:30 PM - Talk by Udayan Vajpeyi, ‘Life With Mani’, an evening of poetry, music and ideas 31 TUESDAY - 6:30 PM - Shorts: Before My Eyes (1988) FEBRUARY - Feature: Mati Manas (1984) 11 SATURDAY - 5:00 PM - ‘Vijaydan Detha, Mani Kaul, Duvidha’, by Uday Prakash - Followed by a discussion on Mani Kaul and Rajasthan, 01 WEDNESDAY - 6:30 PM - Feature: Siddheshwari (1989) by Mr. Uday Prakash and Dr. C.P. Dewal, moderated by Malchand Tiwari 02 THURSDAY - 6:30 PM - Short: The Cloud Door (1994) - Feature: Nazar (1989) 03 FRIDAY - 6:30 PM - ‘Shadow Encounters: Video Practices in India’, Talk by FEBRUARY Gayatri Sinha 07 TUESDAY - 6:30 PM - Feature: Bojh (2000) MARCH SATURDAY 6:30 PM 04 - - Mita Vashisht: ‘That thing called the actor…’: Taken 08 WEDNESDAY - 6:30 PM - Feature: Naukar Ki Kameez (1999) from her under-production filmFirst Take Ok on Mani Kaul’s theory of performance, the actor/ 09 THURSDAY - 6:30 PM - Essay films:Ik ben Geen Ander/I Am No Other (2002), director and key figure in Kaul’sSiddheshwari and A Monkey’s Raincoat (2005) Idiot, in conversation with Ashish Rajadhyaksha 10 FRIDAY - 6:30 PM - Screening: Duvidha (Mani Kaul, 1973)
Exhibition walkthroughs daily at 5:30 PM
Exhibition closed on Mondays and Public Holidays NOTES: Hospitality partner Special thanks
For further information please contact: Jawahar Kala Kendra, JLN Marg, Jaipur. Ph 0141 - 2706060, 27060503 Email: [email protected], Website: www.jawaharkalakendra.rajasthan.gov.in