Sunday, August 21, 2016

The Golden Ratio

a lecture by

Balan Nambiar

Independent Artist and Scholar, Bangalore

On Sunday 21 August 2016 at 6.30 pm
at 1.Shanthi Road Studio/ Gallery
Shanthinagar, Bangalore 560027

About the Talk:

Most people, particularly in the field of art and architecture, know the term "Golden Ratio", but rarely realise that it exists in myriad forms in nature. The golden ratio was found in ancient Greek architecture and arts of 440 BC. The Sanskrit text of "Sulbha Suthra" had mentioned, way back in 800 - 600 BC, various mathematic formulas and measurements related to Vedic Altars.

In the western world an Italian mathematician Fibonacci in the 13th century found the sequence of numbers known as Fibonacci numbers, which justify the golden ratio, 1:1.618. Renaissance artists used this proportion extensively. Further, Golden Ratio can be seen in the creative works of visual arts, architecture, music and cinema. The presentation will touch upon some of these references as well as the influence of Golden Ratio and Fibonacci Numbers in the artist’s creative works.

About the Speaker:

Balan Nambiar is one of our rare scholar- artists. He is a painter, enamelist, sculptor, photographer, and a research scholar of the ritual performing arts of the west coast of south India. He has held numerous solo exhibitions of his garden sculptures and jewellery enamel paintings in India and abroad, exhibiting in the Venice Biennale and Bronzetto di Padova. His research papers and photographs have been presented at international conferences and published by prestigious institutions in Germany, Switzerland and Italy, apart from India. He has accumulated an enormous collection of slides and music from the ritual arts. He has received numerous awards such as the Karnataka Lait Kala Akademi Award, National Award, Nehru Fellowship and the Ravi Varma Puraskaram of Kerala.

Friday, August 12, 2016


This show of leftovers is a tribute to the memory of the artists that passed through 1Shanthiroad and our diverging journeys recollected in the gallery. When an artist travels s/he is a cultural nomad and migrant. Artist residencies function as temporary studios or homes to these travelling artists. In these spaces one can find a choreography of consumption, excess, residue and possible renewal. Artists come with a baggage of fears and unpack them in this temporary space. Local materials blend with foreign products that the artists bring with them. These objects that are used and discarded function as an archive of leftovers of a time and context. These include art materials, medicines, clothes and cosmetics along with art works, drafts and experiments left behind in the studio. Often situations and artworks were fragile and though visibly disintegrating, artists had objected to discarding them resulting in negotiations in preserving, care-taking and reconstruction. Recontextualised in the context of this exhibition, these leftovers now stand rearranged waiting to move from this home to the next.

Sunday, July 31, 2016

Crafting Regionalism: Minnette De Silva and an Asian Modern Architecture by Anooradha Iyer Siddiqi

Crafting Regionalism: Minnette De Silva and an Asian Modern Architecture
Anooradha Iyer Siddiqi
Assistant Professor and Faculty Fellow, New York University
In this talk, Professor Siddiqi engages with life history as a means
to delve into the culturally constructed field of architecture.
Few careers invite critical investigation of architecture’s complex
engagements with gender, labor, regional identity, and modernism in
South Asia as does that of Minnette De Silva, Royal Institute of
British Architects Associate and Sri Lankan Institute of Architects
Gold Medalist. While often credited as a pioneer of modern
architecture, and adhering to international modernist rhetoric as
espoused in the international circles within which she moved, her work
may be understood very differently in its localized contexts, and
through her complex biography.
De Silva’s buildings and writings illuminate an unexpected weaving
together of architectural heritage, nationalistic symbolism, and a
concern with the “Asian” modern.
Through an introduction to De Silva’s oeuvre, we may see how it
inflected a modern movement at the local, regional and international
levels, with interventions long credited to peers whose work has
appealed to more masculine or chauvinistic palates.

Saturday, July 16, 2016

30213 A Performance installation by Jazeela Basheer

30213 is an interactive performance installation that is inspired by ‘Mathilukal’ the highly popular Malayalam novel written by Vaikom Muhammad Basheer. The novel is based on Basheer's time spent in prison and how he fell in love with a female inmate without ever having met her. Her voice behind the high walls that separated the male and female prison is his only link to her. In time, they grew to love each other through their conversations and by exchanging gifts over the wall. Basheer’s portrayal of jail is not that of hardships and struggles; instead he speaks in detail of the comforts he enjoyed owing to the fact that he was a celebrated writer who was a political prisoner. What troubled Basheer was the monotony of prison life, the way he seemed caught in a time warp because time seemed to stretch endlessly ahead of him. His greatest sorrow was the idea of having his freedom taken away. Things change after he falls in love with Narayani, the female inmate. She devises a plan for the duo to meet at the doctor’s office. But, a day before their meeting, Basheer is released from jail. At this point, Basheer realises that he might not want the freedom he has been craving. He asks the warden who bring his release notice. “What does freedom even mean? Outside is an even bigger jail.” The novel was adapted into a film, directed by Adoor Gopalakrishnan and released in 1989. It won several national awards and Mammootty bagged the National Film Award for best actor for his role as Basheer.

Taking off from the ideas in the novel, the series of exhibits set in 1, Shanthi Road, dwells on our constant search for the meaning of love, life and death. 30213 is an experiential journey through time, space and imagination.

Jazeela Basheer's performance installation was developed under the guidance of Sandbox Collective and supported by 1, Shanthi Road.

Language: English

Duration: 30 minutes

Age: 15+

By: Jazeela Basheer

Wednesday, July 13, 2016

Gaza 51

In the summer of 2014, during the month of Ramadan, Israel invaded Gaza in an attack that lasted 51 days. 'Gaza 51' is a collection of art works, stories, poems that emerge from young people's experiences and memories of this devastation. Conceptualised by Mahnoor Yar Khan and The Culture and Free Thought Association, the exhibition features the art works of young people between the ages of 14-25, that weaves a story of displacement, occupation and exile, not centered solely on 'events' but daily life and resilience under siege.