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.










Monday, March 20, 2017

AQUA-Drawings by Urmila VG

AQUA
"If there is magic on this planet it is contained in water"
Water, in Sanskrit, is called Apa or Jala, and in Hindu philosophy the term refers to water as an element, one of the Panchamahabhutas, or "five great elements". An accomplished printmaker, Urmila’s new series is a collection of drawings titled “Aqua” focused entirely on the shape-shifting quality of water as a fundamental element.
This translucent element’s shape shifts between a spinning column of water and a crashing wave. While some artists showed a direct interest in water itself, such as Leonardo da Vinci who was fascinated by water throughout his illustrious career and studied it both as an artist/scientist and as a hydrological engineer, many others represented the many attributes of water conveyed literally, metaphorically, symbolically, or allegorically in mythology, religion, and folklore through their life’s works.
For Urmila VG, becoming a mother and looking at the body as a container of life inspired this series of work. During her pregnancy, seeing water as one of the major elements within the “body container”, it metaphorically represents the collection of water in the female body as gender-specific roles and duties within the domestic context. From the burden of representation in her previous works, Urmila breaks into representing water as foam. As with most liquids, water molecules are normally attracted to each other. This attraction creates tension at the surface of the water often seen as a thin 'skin’. An interaction breaks the surface tension which in turn allows air to mix with water and create bubbles. These congregate as natural foam. Urmila focuses on drawing each bubble to create a web of life and celebrate life through the element – Water.
Suresh Jayaram.








Thursday, March 9, 2017

THE INTIMATE LINE-Drawings Painting mixed media works by Pradeep Kumar DM

Pradeep Kumar’s solo exhibition features a suite of drawings, paintings and mixed media work on paper, canvas, tiles, charcoal blocks, cow dung (smeared on paper) and other found objects.
Hailing from a small but culturally vibrant ‘Lambani’ community, Pradeep has developed an instinctive ability to cull out anecdotes from a personal archive and illuminating them i
n his work. Characterized by passion and proficiency with the moving line, he strokes his images of private tales with elements of fantasy and imagination.

Pradeep brings a raw force and melodic energy to his work– be it in the depiction of the contours of the body; heightened eroticism of infatuated individuals; or witty communion of human and animal forms. The manner in which everyday objects and material are employed to explore aspects of human behaviour and relationships makes him stand out among his peers and fellow artists.

Pradeep has a post-graduate degree from Bangalore University (MVA – painting). He has had solo shows in Bangalore and Pondicherry; besides group exhibits in Seoul, South Korea (2013); and Aarau, Switzerland (2014). In 2010, he won the Camel Art Foundation Award; and undertook a study tour of Paris and a few other European cities. 

 
    







SHORE-A public art display by Mrugen Rathod

शोर reads as a homonym, meaning both Noise and its reference to the sea (sea shore in this context). In this project Mrugen initiated collaborative endeavors that brought together the traditional artists of Odisha to create a dialogue around the impending degeneration of natural resources and the arts in the state; using both to actively create a substantial stand. Located across various towns in Odisha, the project engaged with the intricacies beyond the apparent environmental / ecological reading looking at finer concerns of the contemporaneous situation of traditional art / handicrafts, its dynamics in a consumerist / capitalist market, politics of propaganda, disparity in sustenance measures, vigil of the society, government policies and law amongst other concerns. The display will include narratives, objects and texts that came out of collaborative efforts between the various members of this project, and attempt to extend certain dialogues into the gallery space.

This project was made possible through the support of Foundation of Indian Contemporary Art’s Public Art Grant 2014.