Monday, October 2, 2017

Still visible Raj Kumar- Talk by Anil Kumar HA

About the talk:
Referring to the late Kannada film star Dr. Rajkumar, a cultural theoretician said that 'a cultural hero' is construed when politics fails to produce one (K.V.Narayana). A writer complemented him saying that this man started playing the role of 'Rajkumar' and never removed his make up till the end (Devanooru Mahadeva). A film critic said that in his appearance as Rajkumar, he reminds us of a Brahmin boy from the Mysore province (M.K.Raghavendra). A Jnanpith awardee said that his major films should be subtitled into several Indian languages and be telecast regularly, from the moralistic point (U.R.Ananthamurthy). He is still very much alive in the sacred and profane public spaces. For almost half a century he had been familiar to us through the still photos--published and stored. Yet the promised (allegoric or otherwise) museum about him is yet to take a shape. This is the story of an artist who ruled the hearts of many generations, was a live model for morality-in-art; where even the ruling class was ruled by him while defining artistic policies. 

In this backdrop, this presentation is about unleashing a specific cultural memoir of a generation from the last five decades, which was affected by the process of watching one still image that altered, changed, agreed but refuses to perish. It includes personal anecdotes, stories and analysis about his identity as a hero, singer, protagonist of a linguistic autonomy; and last but not least, as an artist.

About the Speaker:
H. A. Anil Kumar writes, teaches and speaks about visual culture in English and Kannada. He studied Contemporary Curation in Royal College of Arts (London), Art History (Kala Bhavana, Santiniketan) & Painting (CKP). His writings have meandered through art journalism, art criticism, art history, monographs, catalogues, art travelogue and graphic novel formats. His books include the monographs as well as travels to Finland, Russia and Santiniketan. He is also a translator and has translated most of the NGMA (Bangalore) exhibition publications. He has translated John Berger's "Ways of Seeing" to Kannada. He is a recipient of fellowships, scholarships and awards from Unesco-Aschberg Fellowship, Pro-Helvetia, Charles Wallace Trust, B.C.Sanyal's 'Dedicated Teacher' award as well as 'Best Communicator' award from PRCI. Currently he heads the Dept. of Art History at the College of Fine Arts, Karnataka Chitrakala Parishath, Bengaluru.

Friday, September 29, 2017

Open studio-1Shanthiroad art residency 2017 supported by Sher-gil Sundaram foundation

This edition, the proposed theme was "City As Site". With this theme in mind, the artists were to look at Bangalore as an urban site of artistic possibilities to examine the realities and contradictions of the city and its local and global intersections.

The Resident Artists:
Aman Kaur: Aman Kaur is an artist based in Bangalore. She graduated from Srishti School of Art & Design, Bangalore, India with a diploma in Art & Design in 2013. Although her practice is mostly drawing-centric, Kaur also works with video and audio. Her work lies in the realm of the absurd and non-sensical. She is interested in how the body processes words, anxiety, humour and sounds. Her practice comprises an improvisational approach to image-making, allowing chance to guide most of her work. The tone of her work often swings between utterly sincere and completely ridiculous.

Jagrut Raval: Jagrut Raval is an Artist, Designer, Educator. His interdisciplinary art practice spans diverse mediums in various scales manifesting in Installation, Photography and Video art. His interest lies in homogeneity of various media that allows experimentation with imagery and its spatial relationship. His oeuvre broadly deals with philosophical concepts of Time, History and Belonging within both personal and public contexts. He graduated with a Master of Fine Arts in Photography from Savannah College of Art and Design, Savannah, USA, and a Bachelor of Design in Interior Architecture from CEPT University, Ahmedabad, India. His works have been exhibited in United States, China, Egypt, Romania and Bulgaria. He was the inaugural recipient of the Crystal Ruth Bell Residency Award supported by China Residencies and Red Gate Artists' Residency in Beijing, China. Currently he lives and works from his home base in Ahmedabad, India. 

Nidhi Khurana: is a practicing artist and educator based in New Delhi. She completed her post-graduation in Arts and Aesthetics from the Jawaharlal Nehru University. She has studied Sculpture as a bachelor in Visual Arts from M.S. University, Baroda. Nidhi is interested in exploring organic material to document time, colour, space; highlighting concepts of recycling, up cycling to reduce waste. She uses the idea of mapping and maps as an idiom to delve into deeper issues of existence. She has been a part of various camps, workshops and residencies since 2005. Nidhi has worked as a Research, Editorial and Design consultant for various projects including the Delhi Ibsen Festival, Kaaru and the Singhal Foundation. She has also facilitated a School enrichment program for Learn Today, a Times of India Group. She has co-curated the exhibition, “Where in the World” at Devi Art Foundation, Gurgaon with the students and teachers of the Arts and Aesthetics Department, Jawaharlal Nehru University, New Delhi. Most recently, Nidhi developed a map of Panipat in collaboration with the weavers of Raj Overseas, a carpet export factory in Panipat.

Shyamli Singbal: Shyamli Singbal is a mixed media artist from Goa currently based out of Baroda, having recently completed her Bachelors in Fine Arts in Painting from Maharaja Sayajirao University of Baroda. Her past projects have explored the inherent tension in generational gaps and hierarchies; a constant going back and forth between what was, what is and what will be. She primarily draws inspiration from dialogues and interactions with friends, family and spaces; fictional narratives are built up, often having their basis strongly rooted in experiential fact. Currently, she is playing with the porous nature of the boundary between the artificial and the real.

Tsering Motup: Tsering Motup Siddho is an artist whose practice includes work in Painting, Video, Performance and Photography. Motup lives and works in New Delhi, India. Born in Ladakh, and raised in Mysore, Motup earned a bachelor’s degree in Fine Arts from the Karnataka Chitrakala Parishath. Following graduation, he moved to New Delhi and pursued his Master of Fine Arts at Shiv Nadar University for two years. Motup's current interest of work lies in exploring the idea of home and the longing to return to its warmth, familiarity and comfort. Looking at the experiences related to stereotyping and its associated memories have also inspired his art practice incorporating within it a quest for the self in its philosophical dimension and socio-cultural context. He has attempted to touch upon these sensitive issues through a personal rubric using various media in performative gestures. 

Sunday, May 14, 2017

The Golden Feral Trail-Talk by Archana Hande

The Golden Feral Trail is my journey that records local oral histories to trace the relationship between South Asia and Western Australia. The story of trade and migration between the two regions from the early 1800s until the present can essentially be mapped from the Gold rush to Ghost towns of today. This trail has taken me to cemeteries, abandoned graves, deserted mining pits, ghost towns, institutional archives and personal photo albums.
South Asian cameleers and traders, referred to as ‘Afghans’ were brought into this region of Australia to help the British Empire explore and exploit its resources. There was no infrastructure of roads and railways yet so the British first brought in horses but they were of no use in a desert. Then they tried camels from Saudi Arabia, but they failed too as this was a salt desert. Finally the South Asian camels worked for them as they were from a similar climactic region. An unexpected bonus was the cameleers, Afghans. They belonged to nomadic sects and turned out to be very good explorers and invaluable to gold exploration missions into the outback. Renowned British explorers (many new towns came to be named after them) were in fact led by obscure Afghans and Wongathas who knew their land better.
The Wongathas respect the Earth, anything vertical on it is venerated – mountains, hills, rocks but the Englishman was interested in what was hidden underneath. Wongathas had only stories to share, and their land they were forced to share.
Coming back to the Afghans, I realized the nomenclature of ‘Afghan’ was used very loosely in the Australian immigration records. It referred to immigrants belonging to nomadic sects across Sindh, British India, Afghanistan or Baluchistan. They could be of many different religions - Muslim, Sikh, Hindu and speak diverse languages - Urdu, Hindi, Pashtun, Dari but for the British authorities in Australia they were all Afghans.
Today there is much that is feral in the Australian landscape. A lot of the seeds, animals, even the camel is feral now. Like a mine is abandoned when the land’s veins are sucked dry of the resource, like a town supporting a nearby mine becomes a ghost town when the miners move away to the next mine. This landscape is a spectator to the vestiges of the Empire even as it contributes to new global empires. Australian camel meat is exported to the land of the camels - the Arab countries now. Wongathas don’t eat camels. They forage for Emu eggs while the mining companies dig for gold alongside.
The Feral Trail, as I call it, as I see it, remains beneath the red earth. This Western Australian horizon tells a story of a nomadic establishment of economy but also of a loss, an erasure.
Everyday everything goes back to the earth.

Wednesday, May 10, 2017

UP THE RED STAIRCASE Exhibition By Tapan Moharana

Tapan Moharana has been exploring materials and found objects to respond to his surroundings where he relates them to his own sensibilities and rearranges them as installations. He responded to several objects housed at 1Shanthiroad that have a distinctive history in South India.These objects range from antique fragmented icons made of stone to ritual bronze vessels to leftovers from previous art exhibitions to numerous discarded objects collected out of debris found throughout the city. Tapan has handpicked several objects that include grinding stones, potted plants, branches from a tree and discarded metal structures to form an architectural grid as an elaborate installation work.
Tapan has been responding to these objects that typically have a tradition and context of material culture that has been erased over time. His works on paper symbolize this erasure through time and also represent memory.
Tapan Moharana holds a B.F.A and M.F.A in Sculpture from Rabindra Bharati University, Kolkata and has exhibited in several group shows around the country. He is the recipient of the Inlaks Fine Art Award in 2017 and is currently funded through Inlaks Foundation to pursue a residency at 1Shanthiroad Studio/Gallery

Sunday, May 7, 2017

Bengaluru Illi-Alli Open studio by Birender Yadav

Birender Yadav has been exploring his identity first and foremost as a son of a coal miner from Dhanbad among other things. In this context, in one of his previous works, he used workers’ thumb prints as impressions of the uneducated - a process that socially engages people living hard earned lives. His work grapples with the self and his own predicament as an artist has been to explore conceptual ideas about identity, material and the politics & violence of prevalent in our society. His recent work during his residency at 1Shanthiroad looks at surveillance in Bangalore, the iconic evil eye demons that dot the city, and the popular political symbols that fire his imagination.​

Saturday, April 15, 2017

f(x) Exhibition by Pratheek Irvathur

The term f(x) is a common notation for a mathematical function. It takes an input, and churns out an output. During the course of this project, the city was studied as a dynamic system, governed by mathematical laws and principles. The vegetation loss that has been occurring in Bangalore came to light not as an isolated arm in jeopardy, but as a deep rooted part of the ecosystem that influences & harbors agents that govern the course of human life. The loss of vegetation is no secret but this information is perceived in a curious manner by the aforementioned human life. The manner in which we perceive information and process it to build our reality was explored to create mediums that would help communicate this data by hopefully bypassing our cognitive biases. The project, as a result, became a documentation of the insights generated on the journey in discovering how quiet objects (trees & the human subconscious) function. The work generated through the process aims to make us question how we perceive and understand information around us, in the context of how the ecosystem of Bangalore has changed over the past few decades.
Pratheek Irvathur is an engineer, communication designer & new media artist. He studied mechanical engineering in his undergraduate years and after a short stint in advertising that drove him towards the visual arts further, he studied visual communication from National Institute of Design. He works at the intersection of design, science & art and recently completed a residency program in Berlin where he showcased his work on cognitive biases. His works are based on information, data & how it is perceived. His works are often influenced by his background in engineering and design, and are often a documentation of an enquiry and the insights generated.