Saturday, November 24, 2018

Paul Wong: Making Public / Private Art

Artist talks about his practice of delving into
'everyday life’ where he takes personal stories, intimate issues and common materials to create artworks that are then presented in the public context both in traditional and non-traditional visual media and performing venues

Monday, June 18, 2018

Visual world of difference-Lecture by YS Alone.

About the talk
In colonial India, Brahmanic hegemony has produced meta-narratives of the nationalist imaginations having its roots in the intellectual politics of homogeneity of tradition. The intellectual politics of homogeneity of tradition denied the multiplicity while making tradition as of projecting the nationalist aspirations. The nature of understandings have produced monologues of privileges and the space for articulations gets reduced to the nationalist imaginations which make representations timid and devoid of ‘others’ or for that matter the lower castes. The claimed post-colonial subjective realm hardly produced any capacity to address the difference as well as offered a constructive critic of hegemonic thinking as being practiced by the Indian natives and completely bypassed the issues of representations. The hegemonic historicism has produced a metanarrative of thought process devoid of any interrogation, making the world of dominance. The ways in which modernity is produced in India is embedded in traditionalism and hence modernity in India remains cosmetic in nature and has not empowered to any transformations. Dr. Ambedkar was the first who presented critic of Brahmanical discourses, Imperial discourses, and Marxian discourses. He offered a very different idea of critique. Inspired by his ideas, the followers of Dr. Ambedkar began to engage in visual culture by producing imageries that have been representing the Ambedkarite consciousness. Apart from raising Ambedkar statues, the newly converted followers also started revisiting the symbols of the Buddhist past and adopted them with new fervor
and thus started aiming at creating a distinct cultural identity. In case of gallery art practices, very few dared to be different. The lecture illustrates Ambedkar, Neo-Buddhist imagery along with some distinct examples of gallery art practices.
About the speaker
Prof. Yashadatta Somaji Alone is a Professor in Visual Study in School of Arts and Aesthetics, Jawaharlal Nehru University New Delhi. He has published several research papers in journals and chapters in edited volumes on Ancient Indian Art and a critic of Walter Spink, Ajanta caves and Buddhist caves in western India, critic of modern Indian art, popular neo-Buddhist visual culture, in addition to the above, research papers on the interpretative framework of Dr. Ambedkar and social sciences has been published. His research interests include ancient Indian art, Buddhist art, modern Indian art and popular visual culture, a critic of post-colonial paradigms, Neo-Buddhist visual culture as well general social sciences. Prof. Alone is currently involved in the conceptual formulation of ‘protected ignorance’. He has lectured widely in India and abroad mainly China, USA, Germany, Spain, Sri Lanka. He was nominated as ICCR chair visiting Professor in Shenzhen University China and was also invited as visiting professor at Autonoma University Madrid, Spain, Renmin University of China Beijing. He has been engaged in popular lectures as part of social movements. He has been the advisor of National Council of Educational Research and Training textbook on History of Art for class XI. He has published book-‘Early Western Indian Buddhist Caves: Forms and Patronage’, Kaveri Books, New Delhi, 2016.

Saturday, May 5, 2018

Satish Muthalli recently received the National award from the Lalith Kala Academy for his work that featured a rural still life that featured agricultural implements. This work instantly identifies with his agricultural background as a farmer and an artist who is close to nature and concerned about all creatures. The preoccupation of Satish is very specific, he has been focusing on two concerns in his work with rural objects that represent the labor of farmers, who have been neglected by the government and have been burdened by loans, and incidents of farmer suicides in the country is alarming and the inconsistent rains have always affected their lives. The artist represents this predicament and also focuses on his identity as a farmer.
In another set of works, Sathish Muthalli is concerned about animals and the impact of humans on their existence. In reality, we have caged and confined them to restricted zones like safaris and nature parks. They no longer roam the earth freely.
Humans have used and abused their intellect as superior beings on this planet and have constantly interfered with nature. As the philosopher, Rene Descartes wrote in the late 1600s: "animals are mere machines but the man stands alone”. Charles Darwin was one of the first to speak out against this idea. In the Descent of Man, - "There is no fundamental difference between man and the higher mammals in their mental faculties" and that all the differences are "of degree, not of kind".
The key is presenting the subjects with dignity, contrary to the graphically shocking approach activist groups often take. The artist juxtaposed man and animals in ironical situations that question our reality as humans and our violence against the animal kingdom.

We once viewed ourselves as the only creatures with emotions, morality, and culture. But the more we investigate the animal kingdom, the more we discover that is simply not true. Many scientists are now convinced that all these traits, once considered the hallmarks of humanity, are also found in animals. If they are right, our species is not as unique as we like to think. We are part of this ecosystem and need to envision an ethical way of life.

Monday, March 19, 2018

Flexology a lecture by Ravikumar Kashi

RELOOK [ 40] : Lectures on Indian Art
Curated by Pushpamala N.
- a study of street narratives

A lecture by
Ravikumar Kashi
Artist, writer and teacher, Bangalore
Monday 19 March 2018 at 6.30 pm
at 1.Shanthi Road Studio/ Gallery, First Floor,
Shanthinagar, Bangalore 560027
About the talk
Amidst the various street visuals that compete for attention on Bangalore's streets, there has been a new and sudden spurt in recent times. This has to do with the vast number of Sene (armies) that have been showing up in Bangalore in particular and Karnataka in general. These
Sene have been coming up in the name of the language, caste/community and film stars. The arrival of such groups is announced by putting up flex banners and posters. Ravikumar Kashi has been documenting them and has studied the street narratives; he will share his observations in this lecture.
About the speaker
Ravikumar Kashi is an artist who works in different mediums such as painting, sculpture, photography, and installation. His works combine or cut across defined expectations from these mediums. His idea/concept driven works are layered and offer themselves to multiple readings.Kashi was born in Bangalore in 1968. He completed his B.F.A. from College of Fine Arts, Bangalore in 1988; M.F.A. from Faculty of Fine Arts, M.S. University, Baroda in 1990; and M.A. in English from Mysore University, in 1995. He learned handmade papermaking from Glasgow School of Art, U.K. He also learned Hanji, traditional Korean papermaking, from Jang Ji Bang, Korea. He has shown his works in solo shows and curated shows across the world in galleries, art fairs, biennales and museums. He has received the National Award from Lalit Kala Akademi, Delhi and two awards from Karnataka Lalit Kala Academy and one from Karnataka Shilpa Kala Academy for his works.
He writes on art in Kannada and English. Two of his Kannada books, 'Anukta' and 'Kannele' have been published from Akshsra Prakashana, Hegggodu. His book 'Kannele' has received Karnataka Sahitya Academy award.
He teaches at RV School of Architecture, Acharya School of Design and Azim Premji University as visiting faculty. He lives and works in Bangalore.
RE-LOOK - Lectures on Indian Art
This series of lectures presents exciting new research being done in the areas of art history, art practice and visual anthropology in India, each for the first time in Bengaluru. Distinguished art historians and scholars are invited to give illustrated papers on their recent work and interests. The lectures take place at the popular artist space 1.Shanthi Road, situated in the heart of the city. The lectures are conceived and programmed by Pushpamala N, supported by Somberikatte, and hosted by 1.Shanthi Road.

Somberikatte :
Somberikatte is a Kannada word meaning idler’s platform- usually the platform around a large tree, an adda, where people gather to gossip and exchange news. It is a fictitious institution, sometimes a forum
, created by the artist Pushpamal a N.

Saturday, January 20, 2018

Reminiscing Evoloution - Works by Appajaiah K S

Appajaiah K.S is an artist, teacher and an arts administrator at the College of Fine Arts, Karnataka Chitrakala Parishath. The traditional Mysore paintings has inspired and enriched Appajaiah’s sensibilities from his early days. The language of the iconic paintings that encapsulate lyrical linearity have been sacred and profane subjects.

Being a modern artist, he has been carrying the pressures of tradition to speak about the self in diverse ways. His show, ‘Reminiscing Evolution’, is a culmination of many explorations, from the memories of his own childhood, from growing up in an agricultural family that was coming to terms with the new realities of change and conflict, Appajaiah has managed to incorporate all of this by working with traditional materials like gesso, gold leaf and vibuthi blocks (sacred ash) in the form of painting and installations. Additionally, there is a conscious effort to speak about himself through photographic images, taken and borrowed from his own family albums. These images are autobiographical in nature and confront us to unravel many personal narratives of anxiety, tensions between the private and public, and the juxtaposition of tradition and modernity.

Appajaiah’s work also looks into the exploration of material, seen as an interesting indulgence, that uses the vibuthi blocks as a metaphor to represent building blocks, further inscribing images of the self and his lived reality on these supposed building blocks. It constructs another reality of fragile memories for us.