Sunday, November 26, 2017

Botanical Cosmos

Man & Wah are flower boys living and working in Australia. They produce visual works that highlights the intricate forms and colours of plants through large format photographic prints & audio/visual digital projections. These works celebrate the beauty and diversity of nature from around the world, encouraging reflection and deeper contemplation of our relationship with nature, inviting us to pause and appreciate the role it plays in sustaining a liveable planet.
Botanical Cosmos Bengaluru is a series of new botanical inspired works by Man & Wah. Exploring the back streets of the city and Bengaluru’s renowned City Market, Man & Wah with the help of the Shanthi Road crew collected an array of plants within the city’s rapid concrete developments. They visually captured each plant's unique forms and vivid colours through still images and video works that reveal a new sense of perspective and connection with nature that seems to be quickly disappearing amongst this city’s modern expansions.

Friday, October 27, 2017

Monuments by George Demir

In his work Monuments George Demir examines people’s life-stories and their social
positions and poses the question of social representation.
Monuments touches on mutual issues and circumstances as a fragment of self-
representation, on a universal level, through biographical interactive conversations
with different people that have different lifestyles, different sexualities, different
gender-identities and of course different stories.
George Demir utilises the traditional art form of Channapatna dolls in order to present
a form of representation but also transporting the handcraft into a rather
contemporary time, as being a monument to a pluralistic public trying to look forward
to the transformation on how we perceive ourselves and the society we live in.

Tuesday, October 24, 2017

For a Nation Without a Narrative: How was Modernism in India? a lecture by Pithamber R. Polsani

About the talk
Twenty-five years back Geeta Kapur asked the question “When was Modernism in India?” and in response, located the Indian modernism in disjunction with the West, in a fractured temporality.  Perhaps it’s time to revisit this question again not with the view of positioning it accurately in time and space, but instead to critically examine the very notion of modern and by extension the idea of contemporary within the context of art in India.  In an age of “post” of everything—post-modernism, post-history, post-capital, post-labour and even post-human—it may seem anachronistic to ask the question of modernism and modernity.  However, the question remains relevant because we are yet to overcome the metaphysics of modernity. Therefore, my contention is that as long as we have one ear to the West and operate in its shadow we will miss the call to genuinely think other possibilities that were opened in the past and that may unravel in the future.

About the Speaker
Pithamber traversed diverse disciplines: philosophy, education, technology, management, literature, semiotics, media, psychoanalysis, art and Spanish language. These explorations have given him the capability to synthesize insights from multiple domains and connect hitherto unconnected things in a unique way to arrive at solutions to conceptual and practical problems. Prior to joining Srishti as faculty, Pithamber led learning Academies for Royal Bank of Scotland & Nokia Siemens Networks, and at Satyam Computer Services established a Virtual University. Before joining the corporate sector Pithamber taught at the University of Arizona, Bates College & Delhi University. Pithamber received his PhD (1997) from Purdue University, West Lafayette and MPhil & MA from Jawaharlal Nehru University, New Delhi. Some of Pithamber’s publications include, “The Image in a Fatal Kiss: DalĂ­, Lacan and the Paranoiac Representation”, “Like A Lizard That Junks its Tail in Distress: Homer Simpson is no Antigone”, “Use and Abuse of Learning Objects,” “Riding the Satellite to the Millennium.  At Srishti, Pithamber is a Faculty and the Dean of the School of Advanced Studies and Research.

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.