Sunday, December 20, 2015


'PLEASE FIND ENCLOSED' series is a collaborative project brought to you by Kena Artists' Initiative and Collectif BLBC, Paris, with the kind support of 1 Shanthi Road, Bangalore.


Born in the South of France in 1968, Patrick Sagnes was only 8 when he took his first image with the family camera. He started sneaking his way into the photo world, while he was undergoing training at KODIRIS, PICTO laboratory and FUJIFILM. After spending 4 years at the University of Art and the High School of Communication, Patrick Sagnes left Lyon for Paris and was admitted at the EMI-CFD School of Photojournalism. Once graduated, he joined Saola Press Agency, publishing his first photos and began contributing to magazines all over the world. While collaborating with various news agencies – after leaving Saola – he was awarded “Young Reporter Prize of the Year” by the European Festival of Journalism in Angers. By this time, Patrick Sagnes decided to work by himself, and, as an independant photographer for the press magazines. Which led him to be entrusted with communication and commercial campaigns for well-known international groups Adidas, Elle or Coca-Cola.


An exhibition solely developed through digital streams Collectif BLBC, based in Paris, France in collaboration with Kena, based in Bangalore, 

Saturday, December 19, 2015

Freedom Jatha- Talk by Githa Hriharan

What makes a city, or any place, home? The prevailing view of people and places, and their history, has largely been a Western version. What does this gaze look like when it is firmly located here, whether in India or Palestine, and complicated by several cultures, languages, traditions and political debates? Githa Hariharan will talk about her visit to Palestine and read from her book Almost Home which combines memoir and polemic, historical and imagined narrative, anecdote and poetry.

Githa Hariharan is the author of several novels including The Thousand Faces of Night, In Times of Siege and Fugitive Histories, and a collection of essays called Almost Home: Cities and Other Places. She is a member of the Palestine Solidarity Committee in India, for whom she edited the volume From India to Palestine: Essays in Solidarity; and a convener of the Indian Campaign for the Academic and Cultural Boycott of Israel. For more on this Delhi-based author and her work, visit

Friday, December 11, 2015

HOME IS (W)HERE-Painting exhibition by Manju Mohanadas

Manju Mohanadas explores the idea of home beyond an address or a space. It is a private map, a sacred space where we come back again and again.

The artist questions herself-
"Where is home and where does one really belong?
The idea of a home - be it personal, geographical, familial is what the artist explores, questions and engages with. 
Displacement and dispossession trigger inquiries into ideas of ‘belonging’ - to places, spaces and times and a further re-look into one's roots and personal identity."

Manju works with mediums and materials to explore her idea, she explores her own body as map where life lines are etched deep. Through layered, strung and stitched landscapes, sometimes interspersed with maps and text, the artist attempts to articulate this fluid, unresolved state of being. 

When you say "I feel at home" it is a level of comfort, a space and time that is one's own. An address you want to own.To live and create and be yourself.

Manju Mohanadas is from Kochi, she has made Bangalore her home since 2000. She has received a MA in Fine Arts at College of Fine Arts, CKP, Bangalore.
- Suresh Jayaram

Friday, November 13, 2015

Water colour Drawings in ink & conte by Golak Khandual

Golak Khandual is a maverick working with multiple skills- an architect,set designer,makeup artist and an educator. His work reflects the conflict and change of our urban reality. His life and work maintain a critical balance, dealing with the collapse and recovery of spaces and skills that sustain our fragile world.His current set of drawings are an expressionistic take on urban landscapes. His poetic, abstract water colours seem to evoke an escape from them. 

About: Born in 1959, Orissa. Pursued Bachelor’s Degree in Architecture from School of Planning and Architecture, New Delhi (1983) and then worked as freelance architect. In 1986 Trained and worked as a makeup Assistant to Wendy freeman on a fifteen hou
r television serial called ‘The Banyan Tree’; ‘In Which Annie Gives It Those Ones’ by Pradip Krishen and Arundhati Roy (1988); and also designed the sets and landscape for the feature fi lm ‘Electric Moon’ (1989-90). Amongst his architectural ventures are: an extension of Corpus Christi School, Kottayam, Kerala originally designed by Laurie Baker (1987); worked on the Natural History Museum for Satpura National park; worked as part of the task force with government of Madhya Pradesh to prepare an integrated Conservation Plan for Pachmarhi and worked at Baba Amte’s Anandwan, Warora ,developing prototype houses to be built by users who were cured leprosy patients; worked on safety measures in the school building for children at AADI, New Delhi; designed the buildings for Timbaktu Collective in Andhra Pradesh and a botanic laboratory for Centre for Science for Villages, Wardha (2000-2002) and he lived and worked in Himachal Pradesh designing buildings in Mashobra and Sidhbari (2002-2004). In 1992, traveled to Bhutan to study traditional architecture and made a series of paintings of Dzongs and Chhortens for the SAARC Complex for the Royal government of Bhutan. Held several painting and drawing Exhibition seasonally throughout. Presently lives in New Delhi; coping his time in between architecture, painting, writing and teaching.

Saturday, November 7, 2015

Difference screen-Film screening

Difference Screen presents international artists' film and video at 1.Shanthiroad. The screening shows part of an evolving programme traveling to venues in 20 countries over 2.5 years. The project reveals hidden, unexpected and often a very human view of diverse countries, places and landscapes shaped by recent events - artists’ responses that together show the vital, creative value and potential of difference.

Difference Screen as been developed and curated by Bruce Allan and Ben Eastop. Profiles of contributing film-makers, an essay From the Fabric of Things by Gareth Evans,

Wednesday, October 28, 2015

Two Gardens and a Kalamkari, lecture by Omana Eappen @ 1Shanthiroad

About the Talk

This presentation, studying the representations of the Deccani garden in 16th and 17 th century kalamkari textiles from South India looks at the importance of imagination and of rasa, emotional essence, in engaging with the past. Also about associations which are important in our culture like ornamentation, alamkara. How plants – animals – men – gods are a continuum, one often representing the other, one being treated like the other, just like representations of the past, present and future, are another continuum without sharp dividing lines. Omana Eappen looks at multiple ways of looking at the past – accommodating plurality in a country that is extremely diverse, which could be through combinations and multivalence. She looks at how intertwined textiles and gardens were, how the iconography of an image developed, markers of identity, and the many layers, political, economic, social, scientific - that are all woven together in our dealing with the past.

About the Speaker
Omana Eappen is the Managing Trustee of the Nauras Trust, Bengaluru – working on a project with the Archaeological Survey of India and the National Culture Fund to revitalise the 17th century Adil Shahi Gardens of the Ibrahim Rauza and the Gol Gumbaz (the tombs of Ibrahim Adil Shah II and his son Mohammad Adil Shah respectively) in Bijapur (now Vijayapura), Karnataka and on its related publication. Looking for evidence of gardens in textiles led to an in depth study of a rare group of 16th/17thcentury kalamkaris from South India. She is writing a monograph on these textiles for Jnana Pravaha, Varanasi. She is interested in relating these projects to our times in multiple ways to connect across the plural segments of our society.

Friday, October 23, 2015

Weaving in Weaving out- A show of drawings sculptures and installation by Sian Torrington

Siân Torrington is an artist from New Zealand, Aotearoa, who makes drawings, sculptures
and installations. Her work has been widely shown in galleries, festivals, and commissioned
for public spaces. She uses diverse materials to create structural forms which are expressive,
embodied and grounded in practice-based experimentation. Her work is experiential,
requiring the viewer to move around, through and inside, asking their bodies to respond in
space. Siân’s work is drippy and colourful, stuck and woven together, leaning and clinging to
existing structures, or building its own in defiance of straight lines and the upright.
Siân has been artist in residence for 3 months at 1 Shanthi Road, generously funded by The
Asia New Zealand Foundation. She has researched everyday skills and vernacular structures,
as well as local forms of arrangement; how things are hung up in shops or stacked building
materials. A particular focus of the project has been being a woman in India, and how to
express her femme identity in a new culture. How to find a place for it.
Skill-based, everyday making, such as flower-tying and bamboo- weaving have been a way
to connect with local practices of making.
“I want to make my own kind of offering towards these incredible skills which I see
everywhere. Skills that are a part of every-day life here. Skills which do not make people
rich. Skills which are hard to learn, and essential to life. To join together, beautify, bless,
carry and build.”
Siân is extremely grateful and humbled to be taught new skills, work with, and be gifted
materials by local women. This project includes the generous labour, teaching and time of
women without whom she would have remained adrift. Their conversations, humour,
sharing and openness have enabled her to weave her own way in and find connections in a
place that is completely new. This show is dedicated to them, and to female struggles,
community, expression and daily lives, everywhere.
See more of her work and read her blog about her residency here;

Saturday, September 26, 2015

The Memory of a Deluge and the Surface of Water

Late Middle English: from Old French climat or late Latin clima, climat-, from Greek klima ‘slope, zone’, from klinein ‘to slope’. The term originally denoted a zone of the earth between two lines of latitude, then any region of the earth, and later, a region considered with reference to its atmospheric conditions.
Latitudes and Longitudes are imaginary lines. Atmosphere is invisible. Climates affect us, nonetheless, in unknown ways. 

Floods, quakes, winds but also capital and guns have altered geographies and disrupted memories. We live in an engineered climate today; created and destroyed by opposing political wills, pointless perversity, fossilized ideas, new technology, laughable exaltations, fear psychosis, new medical disorders, plastic flowers, fake encounters, torture labs, frothing drains. Snow in summers. The desire for the new world is conflicted between creation and destruction.

We wish to explore artistic renditions and vocabularies of damages and fissures that survive in such climates.
Maraa in collaboration with 1 Shanthi Road is proud to present

The Memory of A Deluge and the Surface of Water
a Collection of Text and Image Fragments by Art Students in the Srinagar Art College, Kashmir in the wake of the destruction of their College in a Flood in Autumn, 2014.

The deluge of September 2014 wrecked havoc in the valley of Kashmir. It besieged the homes of people, drowned the hearts of lovers, stormed the minds of poets, assaulted everything, everyday, while the waters rose. The memory of rising water remains embedded in everyone's memory in Kashmir, and has become impossible to forget or overcome.

This is what we celebrate here, in these short texts that the students of the Art College at Srinagar wrote, invented and performed after they left the flood in Kashmir behind them. For many months they travelled, with images of objects that had emerged from the flood waters in Kashmir. These images and memories of what the flood waters left in their wake became anchors for their practice, their education, their future as artists.
Join us for the exhibition, followed by a discussion with faculty and students from the college. 

Sunday, September 20, 2015

Pre- and Early Chalukya Sculptures in Karnataka: New Research

Pre- and Early Chalukya Sculptures in Karnataka: 
New Research

a lecture by
Raghavendra Kulkarni
Art Historian, CKP, Bangalore

About the Talk: The presentation looks at new research in the pre- and early Chalukyan sculptures in Karnataka and their iconographic and stylistic influences. The introduction of Sanskritic culture, followed by the introduction of Jain and Buddhist faiths in the South in general and particularly in ancient Karnataka had left a strong religious influence. The artistic nuances manifested here were very interesting from the point of view of their style and also form. The sculpture as a result of the change developed with unique iconographic features. Some of these were common to other contemporary schools, but some have definite uniqueness. The sculptures that are datable to the Post-Maurya and Pre Chalukya and early Chalukya will be taken as the examples in the presentation. The early Chalukyas who ruled from ancient Vatapi-Badami in Bagalkot district were pioneers in introducing the new forms and features in sculptural art. Creativity and texts go hand in hand, where some unique sculptures were introduced for the first time in Indian art history.

About the Speaker: Raghavendra Rao.H.Kulkarni is Professor of Art History and Head of Department at the College of Fine Arts, Karnataka
Chitrakala Parishath, Bangalore. He has extensively worked on Pre- and Early Chalukya sculptural art and was awarded with a PhD Degree from Mysore University for the same subject. His published books include Pre- and Early Sculptural Art in Karnataka- Origin and Development ( 2010), Kinnala Art (1992), Early Sculptures in Karnataka (2011), and Artists’ Impressions (2011) on Yusuf Arakkal. He has also published over 50 research papers on sculptures, architecture and mural traditions of Karnataka. He is presently working on Narrative Art in Karnataka Temples, and editing the Encyclopaedia of Visual Art in Kannada, being published by IBH Publications, Bangalore. He is Co-Editor of the Prof. Ratan Parimoo Felicitation Volume, to be released in 2016.

Saturday, August 22, 2015

Making Space for Art - Book Launch

Finally, 1.Shanthiroad has gathered all that we did through images and words. "Making Space for Art" is a repository of memories from the past twelve years.