Puneet Kaushik
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NAVJOT ALTAF Selected Biography
1260 Carillion Point nyb@nybgallery Kirkland, WA 98033, USA +1 425 466 1776 NAVJOT ALTAF Selected biography From Meerut, India. Education Fine and Applied Arts, Sir J.J. School of Arts, Mumbai, India Graphics, Garhi Studios, New Delhi, India Solo Exhibitions 2018 Lost Text, The Guild Gallery, Alibaug, India. Lost Text, Special Project, Art Fair, New Delhi, The Guild Gallery, India. 2016 How Perfect Perfection Can Be Installation with drawings, sculptures, soil, rice grain, and video, Chemould Prescott Road Art Gallery, Mumbai, India. Catalogue. 2015 How Perfect Perfection Can Be Installation with drawings, sculptures, soil, rice grain, and video, The Guild Gallery Alibaug, India. 2013 Horn in the Head, Sculpture Installation with audio and video, Talwar Gallery, New Delhi, India. 2010 TOUCH IV22 monitors video installation, Talwar Gallery, New Delhi, The Guild, Bombay, India. A place in NY, Photomontage, The Guild Gallery, Bombay and NY, USA. Catalogue. 2009 Lacuna in Testimony - Patricia and Phillip Frost Art Museum, Florida, USA. 2008 Touch 4 projection video installation and interactive sculptures, Sakshi Gallery, Bombay, India. Bombay Shots- Photomontage, The Guild Gallery, Bombay, India. Catalogue. 2006 Jagar Multimedia Installation, and Water Weaving, video Installation, Sakshi Gallery, Bombay, India. Junctions 1 – 2 – 3 Photo installation with sound, The Guild Gallery, Bombay, India. Catalogue. 2005 Water Weaving, Video Installation, Talwar Gallery, NY, USA. Catalogue. 2004 Bombay Meri Jaan and 'Lacuna in Testimony', video Installation, Sakshi Gallery, Bombay, India. Catalogue. 2003 In Response To, sculpture installation with photographs by Ravi Agarwal, Talwar Gallery, NY, USA. Catalogue. Displaced Self, Interactive project with artists from Israel and Ireland, Sakshi gallery, Bombay, India. -
Pakistani Nationalism and the State Marginalisation of the Ahmadiyya Community in Pakistan
Sadia Saeed: Pakistani Nationalism and the State Marginalisation of the Ahmadiyya Community in Pakistan Pakistani Nationalism and the State Marginalisation of the Ahmadiyya Community in Pakistan Sadia Saeed University of Michigan, Ann Arbor, USA Abstract This paper examines the relationship between nationalism, state formation, and the marginalisation of national minorities through an historical focus on Pakistani state’s relationship with the Ahmadiyya community, a self-defined minority sect of Islam. In 1974, a constitutional amendment was enacted that effectively rendered the Ahmadiyya community a non-Muslim minority, in spite of claims by the community that it was Muslim and hence not a minority. This paper attempts to account for this anti-Ahmadiyya state legislation by arguing that the genealogy of the idea of a Pakistani state is key for understanding the politics of exclusion of the Ahmadiyya community from ‘Muslim citizenship’ – that is, who is and isn’t a Muslim. Introduction This paper explores the relationship between nationalism, state formation, and the marginalisation of national minorities. In the literature on the nation and nationalism, the relationship between state formation and nationalist exclusions is often under-theorised, with the implicit assumption made that processes of nation building occur independently of the construction of state institutions. Many works have shown the pitfalls of this neglect by demonstrating that the articulation of nationalist ideologies, and the processes which take place in the national community as a result of such nationalisms, are either aided by, or are articulated in response to, the formation of state institutions and practices of social closure (Brubaker 1992; Balibar 2004; Omi and Winant 1994). -
A Gift for Khoj Edition III
a gift for khoj edition III 18 artists have contributed 5 original signed artworks as a gift for khoj 5 unique portfolios with 18 original artworks are available*. DETAILS OF DONATION The drawing/painting portfolio can be booked on a 50% advance donation. It will be shipped against full payment. Shipping costs will be extra. All donations are exempt from Income Tax under 80G (5) (VI) of the Income Tax Act, 1961. ALL PROCEEDS WILL GO TOWARDS Acquring & refurbishing the Khoj buildings in Khirkhee. Developing a corpus fund for KHOJ which will allow KHOJ to function independently in the long term. FOR BOOkiNG PLEASE CONTACT Email: [email protected] / [email protected] Phone: +91 11 29545274 / +91 11 65655873 Mobile: +91 9810327436 / +91 9871308043 *The portfolio of original artworks may not be sold until December 31, 2013 Adip Dutta Aditya Pande Archana Hande Ashim Purkayastha Debnath Basu Gargi Raina Hema Upadhyay Imran Qureshi contributing artists Jagannath Panda Madhvi Parekh Manisha Parekh Manu Parekh Prajakta Potnis Paula Sengupta Reena Saini Kallat Rohini Devasher Sarnath Banerjee Vasudha Thozhur Adip Dutta Drawings from Khasta Katha, adapted from plebian, salacious literature brush & ink on paper, silk screen | 12” x 9” | 2011 Adip Dutta was born in 1970. He received a Bachelor’s and Master degree from Rabindra Bharati University, Kolkata. He is currently a member of Faculty of Visual Arts at Rabindra Bharati University, Kolkata. He also received the Rabindra Bharati Annual Exhibition Award for Sculpture (1998, 2000) and the Charles Wallace Scholarship (2002). His public installation Celestial Angels was installed in New Delhi at IGI Airport Metro Link (2010). -
USC Pacific Asia Museum Presents, Following the Box, Exhibition Inspired by a Collection of Found Photographs
Following the Box September 13, 2019 – January 26, 2020 Exhibition inspired by a collection of found photographs taken in India during WWII USC Pacific Asia Museum 46 N Los Robles Ave Pasadena, CA 91101 Sunandini Banerjee, Untitled, Digital collage printed on archival paper, 23 x 36 inches USC Pacific Asia Museum is pleased to present Following the Box. Organized by guest curators Jerri Zbiral and Alan Teller, Following the Box includes contemporary art by Indian artists inspired by a collection of found photographs taken in India by an unknown U.S. serviceman towards the end of World War II. In 1945, an American soldier stationed in India took a series of photographs depicting everyday life in West Bengal. Nearly sixty years later, curators Jerri Zbiral and Alan Teller discovered the box of 127 large format negatives and prints at a Chicago-area estate sale and were struck by the sensitivity and skill evident in the images. The photographs are carefully composed and include thoughtful portraits of Bengali residents. After several years of research, the curators determined through clues in the images and handwritten notes on the photograph’s edges that the photographs were taken in West Bengal. The photographer is still unknown. After a research trip to the region, the curators decided to invite a group of Indian artists to create artworks responding to the photographs as well as make pieces of their own. The resulting exhibition, Following the Box, features painting, collage, film, illustration, and multimedia work. Each piece draws inspiration from the original photographs, exploring the elusive nature of memory, political and military histories, and cultural identity. -
Text Sentiment Analysis of Marathi Language in English and Devanagari Script
Text Sentiment Analysis of Marathi Language in English And Devanagari Script by Harry Pradeep Gavali Dissertation Submitted in partial fulfilment of the requirements for the degree of MSc in Data Analytics At Dublin Business School Supervisor: Pierpaolo Dondio January 2020 2 DECLARATION I declare that this dissertation that I have submitted to Dublin Business School for the award of MSc in Data Analytics is my own research and original work; except where otherwise stated, where it is clearly acknowledged by references. Also, this work has not been submitted for any other degree and is entirely in compliance with Dublin Business School’s academic policy. Signed: Harry Pradeep Gavali Dated: 6th January 2020. 3 ACKNOWLEDGEMENT I would like to express my deepest gratitude to my mentor and research supervisor Mr Pierpaolo Dondio, for guiding me on the right track from the beginning to the end of the research. I appreciate his constructive feedbacks and his willingness to always dedicate his precious time generously. He was always available to help, and his remarks have helped me a lot in order to make the research successful and professional. I would also like to thank my parents, my friends and their parents who invested their precious time and helped me in compiling the data for the research. Few of them had to act as judges in order to rate the data, which was a crucial part of the research. Their help is deeply appreciated. Furthermore, I would like to thank Google for allowing me to incorporate their Cloud Translation API which translated the data smoothly and swiftly. -
Indian Politics and Society Since Independence: Events, Processes
Indian Politics and Society since Independence This book focuses on politics and society in India. It explores new areas enmeshed in the complex social, economic and political processes in the country. Linking structural characteristics with broader sociological context, the book emphasizes the strong influence of sociological issues on politics, such as the shaping of the social milieu and the articulation of the political in day-to-day events. Political events are connected with the ever-changing social, economic and political proc- esses in order to provide an analytical framework to explain ‘peculiarities’ of Indian politics. The main argument of the book is that three major ideological influences have provided the foundational values of Indian politics: colonialism, nationalism and democracy. The colonial, nationalist and democratic articulation of the political have shaped Indian politics in a complex way. Structured themati- cally, with a multitude of pedagogical features, this work is a useful text for stu- dents of political science, sociology and South Asian Studies. Bidyut Chakrabarty is Professor of the Department of Political Science at the University of Delhi. His main research areas are public administration and mod- ern Indian political thought. He has published extensively on the subjects, and is the author of The Partition of Bengal and Assam, 1932–47 (Routledge, 2004), Social and Political Thought of Mahatma Gandhi, 1933–1943 (Routledge, 2006), Forging Power: Coalition Politics in India (Oxford University Press, 2006), -
Jagannath Panda 1970 Born in Bhubaneswar Education 2002 Master of Arts, Fine Sculpture, Royal College of Art, London 1997 Visit
Jagannath Panda 1970 Born in Bhubaneswar Education 2002 Master of Arts, Fine Sculpture, Royal College of Art, London 1997 Visiting Research Fellow, Fukuoka University of Education, Japan 1994 Master of Fine Arts (Sculpture), M.S University, Faculty of Fine Arts, Baroda 1991 Bachelor of Fine Arts (Sculpture), B.K College of Art and Crafts, Bhubaneswar Solo Exhibitions 2009 The Action of Nowhere, Gallery Nature Morte, New Delhi; Alexia Goethe Gallery, London 2007 Nothing Is Solid, Gallery Chemould, Mumbai 2006 Berkley Square Gallery, London 2005 Gallery Nature Morte, New Delhi 2000 Gallery Chemould, Mumbai 2000 Nature Morte at the Hungarian Information and Cultural Centre, New Delhi 1998 Za moca Foundation Gallery, Tokyo Group Exhibitions 2009 Astonishment of Being, Birla Academy of Art & Culture, Kolkata Vistaar II, presented by Seven Arts Limited at The Stainless Gallery, New Delhi In The Mood For Paper, F2 Gallery, Beijing The Human Animal, jointly presented by Gallery Threshold and Arts I (Religare Arts Initiative) at Gallery Threshold, New Delhi Bapu, presented by Saffronart in association with Berkeley Square Gallery, London 2008-09 Where In The World, Devi Art Foundation, New Delhi 2008 Nature Of The City, Visual Art Gallery, India Habitat Centre, New Delhi Urgent Conversations, Visual Art Gallery, India Habitat Centre and Art Alive Gallery, New Delhi Indian Art at Swarovski ‘Crystal World’ Show, 2nd Exhibition, Tirol – Österreich, Austria Portrait of a Place, Rob Dean Art Gallery, London 2007 Frame, Grid, Room, Cell, Bodhi Art Mumbai -
Rohini Devasher
rohini devasher Born in 1978 | lives and works in Delhi EDUCATION 2003-04 M.A. Fine Art Printmaking, Winchester School of Art, UK 1997-01 B.F.A. Painting, College of Art, New Delhi, India SOLO EXHIBITIONS 2016 Speculations from the Field, Dr. Bhau Daji Lad Mumbai City Museum, Mumbai 2016 Archaeologies of the Future, Vis-a-Vis Experience Centre, New Delhi in collaboration with Project 88 2013 Deep Time, Project 88, Mumbai Deep Time, Khoj Studios, Delhi 2011 Permutation, Nature Morte, New Delhi, in collaboration with Project 88 2009 Breed, Project 88, Mumbai GROUP EXHIBITIONS 2017 Clouds⇄Forests, the 7th Moscow Biennale curated by Yuko Hasegawa 2016 Temporal Turn: Art and Speculation in Contemporary Asia, Spencer Museum of Art, USA Encounters and Each Passing Day, Kiran Nadar Museum, Noida, India Colomboscope: TESTING GROUNDS: Art and Digital Cultures in South Asia and Europe, Colombo CODE_n - The Global Innovation Ecosystem, ZKM | Center for Art and Media, Karlsruhe, Germany Artists’ Film International, Museum of Art, Architecture and Technology (MAAT), Lisbon New Sensorium - Exit of Failure of Modernism, ZKM | Center for Art and Media, Karlsruhe, Germany Artists’ Film International: Rachel Maclean and Rohini Devasher, Whitechapel Gallery, London (UK) Observations, ArtScience Screenings, ArtScience Museum, Singapore The Missing One, curated by Nada Raza, Dhaka Art Summit 2016 2015 Video Art Film program, Bhau Daji Lad Mumbai City Museum Earthbound, Project 88, Mumbai 2014 Below Another Sky, Aberdeen, Scotland Panorama of the Next World: -
The Islamization of Pakistan, 1979-2009
Viewpoints Special Edition The Islamization of Pakistan, 1979-2009 The Middle East Institute Washington, DC Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints are another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US rela- tions with the region. To learn more about the Middle East Institute, visit our website at http://www.mei.edu Cover photos, clockwise from the top left hand corner: Government of Pakistan; Flickr user Kash_if; Flickr user Kash_if; Depart- ment of Defense; European Parliament; Flickr user Al Jazeera English; Flickr user groundreporter; Flickr user groundreporter. 2 The Middle East Institute Viewpoints: The Islamization of Pakistan, 1979-2009 • www.mei.edu Viewpoints Special Edition The Islamization of Pakistan, 1979-2009 The Middle East Institute Viewpoints: The Islamization of Pakistan, 1979-2009 • www.mei.edu 3 Viewpoints: 1979 The year 1979 was among the most tumultuous, and important, in the history of the modern Middle East. -
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Original Research Paper Dr. Girish Joshi* Pharmacology
VOLUME-9, ISSUE-2, FEBRUARY-2020 • PRINT ISSN No. 2277 - 8160 • DOI : 10.36106/gjra Original Research Paper Pharmacology THE ETHNIC ORIGIN OF KONKANASTHA BRAHMINS: FACTS, MYTHS AND CONTROVERSIES Dr. Girish Joshi* Pharmacologist, Thane (W) *Corresponding Author KEYWORDS : The “Konkanastha Brahmins” also called the “Chitpavan father Nrusimha, a well known astrologer, was conferred the Brahmins” are a Brahmin community of the Konkan region of title of “Jyotirvitsaras” by the Moghul Emperor Akbar in 1599 the Indian State of Maharasthra. The community had A.D. The Brahmin Raghunāth must have learnt his caste name historically been very important to local Maharashtrian Chitpvan from his grandfather Nrusimha who had migrated politics, and Indian politics as a whole, as it provided the to Kashi from Konkan. Nrusimha also must have learnt it from Peshwas, i.e. the Prime ministers of the Maratha Empire that his father. Therefore the name “Chitpavan” must have been was the most dominant state in the subcontinent in the pre- used as back as 1570. (3) colonial period and had come to rule most of the region. (1) The reference in a letter dated 19th Feb 1677 written by a clerk Unheard of before 1700, the Chitpavan Brahmins of in service of King Shivāji Maharaj. The letter mentioned that Maharashtra came to dominate the elds of social reform, “Deshstha, Karhāde and Chitpāvan brāhmins lived in Kokan law, scholarship, government service and the arts by the area and were honored on for their merit”. After 1700 A.D. nineteenth century. Their two names, Konkanasth and many documents one can nd were the word Chitpāvan is Chitpavan, suggest their origins. -
Fair Trade: the Institution of Art in the New Economy
FAIR TRADE: THE INSTITUTION OF ART IN THE NEW ECONOMY 9 – 10 NOVEMBER, 2009 - MEXICO CITY Museo Tamayo and Museo Universitario de Arte Contemporáneo (MUAC) CIMAM 2009 Annual Conference ‘FAIR TRADE: THE INSTITUTION OF ART IN THE NEW ECONOMY’ 9 – 10 November, 2009 - Museo Tamayo and Museo Universitario de Arte Contemporáneo (MUAC), Mexico City. A two-day conference examining the role of the ‘museum’ in the contemporary world [published on the occasion of the 2009 CIMAM Annual Meeting, 9 – 10 November, 2009 - Museo Tamayo and Museo Universitario de Arte Contemporáneo (MUAC), Mexico City] ; edited by Cathy Douglas and Josephine Watson in collaboration with Pilar Cortada; sessions transcribed by Mireia Bartels and Inés Jover. CIMAM 2009 Annual Conference ‘Fair Trade: the Institution of Art in the New Economy’ – 2 – INDEX Welcoming remarks Teresa Vicencio, director of the National Institute of the Fine Arts (INBA), Mexico City 4 Sealtiel Alatriste, head of the Co-ordination of Cultural Diffusion at the National Autonomous University of Mexico (UNAM), Mexico City 5 Manuel J. Borja-Villel, president of the International Committee for Museums and Collections of Modern Art (CIMAM) and director of the Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid 6 Introduction Sofía Hernández Chong Cuy, director of the Museo Tamayo, Mexico City 8 Graciela de la Torre, director of the Museo Universitario de Arte Contemporáneo (MUAC), Mexico City 8 DAY 1: LEARNING FROM CRISES SESSION 1 Respondent to speaker Michael Govan, director of the Los Angeles County Museum of Art (LACMA) François Piron, co-founder of castillo/corrales, Paris 11 SESSION 2 Speaker Museums in Mexico: Agents for Change? Osvaldo Sánchez, director of the Museo de Arte Moderno (MAM), Mexico City 16 Respondent Dmitry Vilensky, artist and co-ordinator of Chto delat/What is to be done?, St Petersburg 26 DAY 2: OFF-CENTRE CENTRES SESSION 3 Speaker Museums Will Be Convulsive ..