Kasauli Art Centre (Working Chronology) Founded in 1976
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Navjot Altaf: Holding the Ground, Critics on Art, Lalit Kala Akademi, New Delhi, 19Th July 2010
This text is an unedited draft on the basis of which the speaker delivered a seminar, talk or lecture at the venue(s) and event(s) cited below. The title and content of each presentation varied in response to the context. There is a slide-show below that accompanies this document. If the text has been worked upon and published in the form of an essay, details about the version(s) and publication(s) are included in the section pertaining to Geeta Kapur’s published texts. Venue Lecture: Navjot Altaf: Holding the Ground, Critics on Art, Lalit Kala Akademi, New Delhi, 19th July 2010 NAVJOT ALTAF: HOLDING THE GROUND Her exhibitions: With Altaf in schools aetc. Links, Modes of Parallel Practice, Sculptures, BASTAR Three Halves, Dis-placed Self, Between Memory and History, Lacuna, Mumbai Meri Jaan, Water Weaving, Jagar , Various pedagogic workshops all over the world Catch Mumbai- New York photo project, Khoj: Modinagar, Khirkee scooter rickshaws, Public art Barkhamba Rd 2008 Touch, Gandhi Contents 1 Introduction (art history, projects, pedagogy, praxis. 2. On Representation ‘People’: in lieu of the (Indian) nation; displaced representation. 3. Anthropology/Locality: dialogic models 1 4. Feminist art practice: notation/abstraction 5. Metropolitan ‘communities’ /communal violence 6. Speech, Silence, Erasure 7. Global Nomadism Introduction Navjot is one of the very few artists in India who insists on the particapatory aspect of her work. This is an ideological choice that inscribes her in a distinct stream of art discourse and practice played out worldwide. Navjot’s trajectory links with precedents in Indian art in that several generations of artists have privileged locality, community, and an art-language based on material processes. -
Your 360° Guide to Stay Engaged Online
YOUR 360° GUIDE TO STAY ENGAGED ONLINE CULTURE & FASHION The world’s biggest film festivals, cultural mapping, dance, fashion and more WE ARE ONE: CANNES TO SUNDANCE & MORE The hosts of the international film festivals at Cannes, Tribeca, Sundance, Toronto, Berlin and Venice are coming together to host a 10-day free virtual event on YouTube, streaming free cinema for fans everywhere. With no ads, expect feature films, shorts, docus, music, comedy and panel discussions. May 29-June 7, 2020 CULTURAL MAPPING GOES VIRTUAL As part of an ongoing initiative to create educational and scholarly resources documenting local art, craft and music traditions in India, Sahapedia is hosting a series of lectures and interactive sessions online. The sessions will touch upon topics like cultural mapping, knowledge traditions, practices and rituals and more. Ongoing VISIT THE COMIC-CON MUSEUM@HOME Comic-Con Museum’s @Home website section is hosting exclusive new video content and coverage of past shows, as well as a Fun Book series for various age groups. Don’t miss the Online Exhibit Hall and Merch Store at the WonderCon@Home section. Also keep checking their social media handles for additional content. Ongoing LEARN BALLET AT ROYAL ACADEMY OF DANCE Sarah Platt’s Silver Swans class is aimed at adult beginners. Each video session is under 20 minutes, perfect for lunchtime or a quick break if you’re sitting at your kitchen table. The classes are aimed at older learners, but the Royal Academy of Dance will add new classes for all ages in the coming weeks. Ongoing WHERE IS FASHION IN INDIA HEADED? The Fashion Design Council of Indian has curated a series of online interactive sessions to discuss and deliberate where the Indian industry is heading after the pandemic. -
Manu Parekh: Sixty Years of Selected Works
A Panel Discussion around the Book and Retrospective Exhibition Manu Parekh: Sixty Years of Selected Works For Immediate Release “Manu Parekh is the foremost expressionist in contemporary Indian painting.” -Art Critic John T. Spike NGMA Mumbai and Ministry of Culture, Government of India in association with Avid Learning and Gallery Art and Soul presents a panel discussion around a retrospective exhibition and book launch celebrating Veteran Artist Manu Parekh’s 60-year artistic journey and practice. Details of the panel are as below: Known as one of India’s most inventive painters, Manu’s innovative practice and resulting book and exhibition will form the basis for this panel discussion with the artist and Cultural Theorist Nancy Adajania in conversation with Curator, Cultural Theorist and Poet Ranjit Hoskote. Using this landmark exhibition and authoritative book as context, these speakers will dissemble Manu’s rich body of work, excavate his myriad inspirations and influences and discuss works from his most prolific periods. They will also discuss Manu’s place in the larger context of Indian Modern and Contemporary Art and his influence on markets and younger generations of artists today. Read on below for an exclusive excerpt from the book’s opening note written by Adwaita Gadanayak, Director General of the NGMA: In a career spanning nearly sixty years, Parkeh has been making artworks that hold a unique place in Indian art. Manu Parekh: 60 Years of selected works at the NGMA, New Delhi, brings together the full spectrum of his practice from the 1960s to the present. This exhibition is the first comprehensive survey of artworks spanning nearly six decades of a long creative career that demonstrates the depth and diversity of Parekh’s practice. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Catalogue Fair Timings
CATALOGUE Fair Timings 28 January 2016 Thursday Select Preview: 12 - 3pm By invitation Preview: 3 - 5pm By invitation Vernissage: 5 - 9pm IAF VIP Card holders (Last entry at 8.30pm) 29 - 30 January 2016 Friday and Saturday Business Hours: 11am - 2pm Public Hours: 2 - 8pm (Last entry at 7.30pm) 31 January 2016 Sunday Public Hours: 11am - 7pm (Last entry at 6.30pm) India Art Fair Team Director's Welcome Neha Kirpal Zain Masud Welcome to our 2016 edition of India Art Fair. Founding Director International Director Launched in 2008 and anticipating its most rigorous edition to date Amrita Kaur Srijon Bhattacharya with an exciting programme reflecting the diversity of the arts in Associate Fair Director Director - Marketing India and the region, India Art Fair has become South Asia's premier and Brand Development platform for showcasing modern and contemporary art. For our 2016 Noelle Kadar edition, we are delighted to present BMW as our presenting partner VIP Relations Director and JSW as our associate partner, along with continued patronage from our preview partner, Panerai. Saheba Sodhi Vishal Saluja Building on its success over the past seven years, India Art Senior Manager - Marketing General Manager - Finance Fair presents a refreshed, curatorial approach to its exhibitor and Alliances and Operations programming with new and returning international participants Isha Kataria Mankiran Kaur Dhillon alongside the best programmes from the subcontinent. Galleries, Vip Relations Manager Programming and Client Relations will feature leading Indian and international exhibitors presenting both modern and contemporary group shows emphasising diverse and quality content. Focus will present select galleries and Tanya Singhal Wol Balston organisations showing the works of solo artists or themed exhibitions. -
A ABHAŃGA 1. a Traditional Prosodic and Mould, Prevalent in The
A primary and material-cause of the universe. The world is the ABHAŃGA manifestation ( Ābhāsa ) of the supreme Reality. It is neither 1. A traditional prosodic and mould, prevalent in the the ultimate reality nor an illusion. The world is the relative devotional literature and music of Maharashtra. truth. The theory of ābhāsa-vāda of Tantra, is different from AUTHOR: RANADE A. D. Source: On music and the Pariņāma- vāda of the Sā ṁkhya and Vivartavāda of the Musicians, New Delhi, 1984. Vedānta. Same Ābhāsa- vāda is the theory of creation of the 2. A Marathi devotional song, a popular Folk song of art-forms in Śaiva-tantra. Maharashtra since 13 th Cent. A.D. The composers of these AUTHOR: PADMA SUDHI.; Source: Aesthetic theories songs tried to propound the philosophy of the Bhagavadgītā of India, Vol. III, New Delhi, 1990. and the Bhāgavata Purāņa. It is composed in Obi, a popular metre. There is no limit of the length of the song, and can be ĀBHĀSA-VĀDA sung in any rāga . It is perennial Kīrtana of God, Abhańga 1. In the absolute, the entire variety that we find in the literal meaning is a Kīrtana without break. objective world, is in a state of perfect unity, exactly as the AUTHOR: PADMA SUDHI (thereafter P. S.) whole variety of colours that we find in a full-grown 3. Ābhańga: A term of Hindu Iconography. Ābhańga is that peacock is in a state of perfect identity in the yolk of form of standing attitude in which the centre line from the peacock’s egg. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
Annual Report 2016-17
ANNUAL REPORT 2016 -17 ANNUAL REPORT 1st April 2016 to 31st March 2017 AES+F’s video installation Inverso Mundus (2015) at Anand Warehouse CONTENTS 06 INTRODUCTION 08 KOCHI BIENNALE FOUNDATION 10 BOARD OF TRUSTEES 12 KOCHI-MUZIRIS BIENNALE 2016 14 ARTISTS OF KOCHI-MUZIRIS BIENNALE 2016 22 KOCHI BIENNALE FOUNDATION PROGRAMMES 30 AUDIENCE 32 HIGHLIGHTS 46 CSR SUPPORT AND KOCHI BIENNALE FOUNDATION 46 MEETING OF THE BOARD OF TRUSTEES 47 CONSTITUTION OF INTERNAL COMPLAINTS COMMITTEE 48 AUDIT & ACCOUNTABILITY 70 KOCHI-MUZIRIS BIENNALE 2016 SPONSORS, PATRONS & SUPPORTERS Front Cover: Abir Karmakar’s painting Home (2016) at Kashi Art Gallery 4 5 INTRODUCTION The Kochi Biennale Foundation is the statement ‘Forming in the Pupil of an Ours is an effort tethered to the idea of Art By Children was an artistic interven- honoured to present the annual report Eye’, and asking a central question: What learning and growing from experience. tion into public schools in Kerala that of the Foundation for the year 2016-2017. does it mean to be together in time – Every edition teaches us new lessons, as reached out to 100 schools across the Of course, as always, the audited balance to be contemporary? we grapple with new challenges. The state. The team at ABC also created sheet of the Foundation for the year levels of support, trust and faith our on-site workshops at the Biennale, 2016-17 is an integral part of this report. Ninety-seven artists from 31 countries, Patrons, Partners and Supporters provide bringing vast numbers of schoolchildren more than 100 works of installation, us with gives us a great deal of strength to into Aspinwall House every day. -
Annual Return
FORM NO. MGT-7 Annual Return [Pursuant to sub-Section(1) of section 92 of the Companies Act, 2013 and sub-rule (1) of (other than OPCs and Small rule 11of the Companies (Management and Companies) Administration) Rules, 2014] Form language English Hindi Refer the instruction kit for filing the form. I. REGISTRATION AND OTHER DETAILS (i) * Corporate Identification Number (CIN) of the company Pre-fill Global Location Number (GLN) of the company * Permanent Account Number (PAN) of the company (ii) (a) Name of the company (b) Registered office address (c) *e-mail ID of the company (d) *Telephone number with STD code (e) Website (iii) Date of Incorporation (iv) Type of the Company Category of the Company Sub-category of the Company (v) Whether company is having share capital Yes No (vi) *Whether shares listed on recognized Stock Exchange(s) Yes No Page 1 of 15 (a) Details of stock exchanges where shares are listed S. No. Stock Exchange Name Code 1 (b) CIN of the Registrar and Transfer Agent Pre-fill Name of the Registrar and Transfer Agent Registered office address of the Registrar and Transfer Agents (vii) *Financial year From date 01/04/2020 (DD/MM/YYYY) To date 31/03/2021 (DD/MM/YYYY) (viii) *Whether Annual general meeting (AGM) held Yes No (a) If yes, date of AGM (b) Due date of AGM 30/09/2021 (c) Whether any extension for AGM granted Yes No (f) Specify the reasons for not holding the same II. PRINCIPAL BUSINESS ACTIVITIES OF THE COMPANY *Number of business activities 1 S.No Main Description of Main Activity group Business Description of Business Activity % of turnover Activity Activity of the group code Code company K K8 III. -
Archer Art Gallery
+91-9712969047 Archer Art Gallery https://www.indiamart.com/archer-art-gallery/ Exporter of greeting cards, wedding cards and fancy stationery. About Us ARCHER - the graphic studio started its journey as a small atelier in Ahmedabad in 1978. The studio was founded by Anil Relia, a Fine Arts Major in Applied Arts, Serigraphy and Photography from the M.S. University of Baroda. Under his able guidance, Archer has been professionally involved in screen printing activities for a number of renowned designers and companies.Anil Relia has also come out with his own serigraphs and exhibited them in Ahmedabad, Mumbai and Delhi. His passion for art has allowed him to enjoy homely relations and art discussions with the likes of M.F. Husain, Jogen Chowdhary, Bhupen Khakhar, Amit Ambalal and Manu & Madhvi Parekh to name a few.Aware of his background in screen printing and an inclination towards fine arts prints, it was M F Husain who motivated him to venture in the publication of serigraphs with collaboration of contemporary artists.Hence, with the vision of enhancing Indian art market and giving in the best to the art connoisseurs, Archer initiated the printing of Limited Edition Graphics from 1997. Since then, Archer has worked on the path to bring out the finest work on both artistic and technical level, completing numerous editions for some of the most popular and demanding artists of the day including M F Husain, S H Raza, Jogen Chowdhary, Manjit Bawa, Manu Parekh, Madhvi Parekh, Thota Vaikuntam and Amit Ambalal. This in turn has played an important role in the development of the art scenario and hence, popularizing the demand for.. -
Modernisms in India
Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com plicated in the case of India, but remain crucial to a historical understanding of the ‘mod ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic. -
A Kaleidoscope Scope of Indian Art
A kaleidoscope scope of Indian art This major show marks the finale of Delhi-based Kumar Gallery's Golden Jubilee expositions. The show signals curtains on the gallery's series of events launched to mark its 50th year. This show is of note as it features salient works by the most compelling artists on the Indian scene during more than half a century. Lauding the efforts of the gallery, art critic Kesav Malik writes in his introductory note: 'The Gallery has justifiable claims to being the true art pioneer in the capital: terra firma for artists in the once artistic wilderness. The collection on view has works by almost all leading Indian contemporary artists. There are works by artists including A. Ramachandran; K.H Ara, B. Prabha, B. Vithal, Badri Narayan, Ramkinkar Baij, N.S Bendre , Rameshwar Broota, Shobha Broota , S.R Bhushan, Sakti Burman, Arpana Caur, Sankho Chaudhuri, Jatin Das, Bimal Dasgupta, Prodosh Das Gupta, Biren De, Gopal Ghose, Satish Gujral, Sangeeta Gupta, K.K Hebbar, Somnath Hore, M.F Husain, Owais Husain, and Krishen Khanna Each of these artists has an inimitable style and subject matter, which find a representation in the show. On view are works of veteran artists like A Ramachandran, whose vision and style have changed from somber expressionism to lyrical and metaphysical engagement with nature. In the process, the artist has explored diverse scale and mediums. Late B. Prabha is known to have drawn inspiration from the everyday life of the Indian women -fisherwomen on the seaside, women selling vegetables in the market place, women with their babies, women getting married.