CREATURE COMFORT an exhibition of Drawings by MALAVIKA P. C.

Malavika.P.C is an Illustrator of Children’s' Books, Print Designer, Theatre Actor and a Good Cook. She is also a lyricist of exactly 4 songs; a gypsy, ironically waiting to find her one acre of land so she can settle down to farm. She dreams to live in her farm, with her 2 goats, 1 dog, 2 cows, 4 cats and 1 monkey, quite content growing her herbs, potatoes and cattle feed. She also dreams of the charming Letterpress Station and art studio that will be concealed several feet beneath the quaint farmlands; for by day she is a Farmer and by night, an artist who brews the creatures on paper. She studied to be an industrial ceramist and won medals at her College; that officially qualified her to make state-of-the-art wash basins and colorful potties. She soon realized that wasn't her calling. The call that came from reams of paper and liters of ink and the lines born of a nib was stronger.

Creature Comfort is her first solo exhibition of 22 ink drawings.

EXPRESSIONS IN ABSTRACTION by Mini Arora

Painting for me is a means of creating, of experimenting and exploring different media to achieve fascinating results.
Since I first delved into the world of art over twenty years ago with a watercolour class in the US, I have evolved as an artist. I have drawn on the experiences of many wonderful artists/teachers through the years, who have helped me to gain skills and techniques. I use those valuable lessons to to create whatever my mind has in store for me. Art to me is an excitement, a restlessness and a need to keep meeting new challenges.
Lately I have been dividing my time between England, India and the U.S. – all countries where I have lived at some point or another in my life. My art has been influenced by this path that I have followed, making it a blend of the East and the West, a reflection of the journey of my existence both physical and spiritual. There is a search in all of us and my work helps me to identify mine.
Texture is something that appeals to me; in many of my acrylic and oil works you will notice the profusion of layers to give a rich multiplicity. I want the viewer to peer into my painting to see what lies beneath. My most recent works involve the palette knife which enables me to apply thick and generous amounts of paint. I hope you enjoy seeing the interplay between colours and strokes.
Currently I am pursuing a degree in art from the Open College of the Arts in the UK and working on my 3rd course which consists of art history. I am enjoying learning about the works of abstract expressionists, Frank Auerbach, Richard Diebenkorn, John Walker and Gerhard Richter.

CITY CIRCLE an Installation by PRADEEP THALAWATTA , SL

Pradeep Thalawatte’s artistic investigations incorporate highly urban situations: industrial materials, mass-production, pop/celebrity icons and personal episodes of his life. His works deal with absorption with urban allure, commenting on consumer anxieties and feelings of isolation and loneliness in the big city.

“The items chosen for the background in his works are mass-produced and mass used items and the images 

that are represented are individuals with whom I tend to associate very closely. What is expressed within the 

background and foreground represents relationships that cannot be ignored or avoided. They are decided based 

on personal selections, individual tastes, continued usage, authenticity and conveniences.”

He is part of Theertha Collective and has been awarded the Commonwealth fellowship to work at 

1.Shanthiroad Studio.

RE-LOOK : The Making of a Modern Indian Artist-Craftsman: Devi Prasad

a lecture by
Naman Ahuja
Art Historian, JNU, New Delhi.

The Making of a Modern Indian Artist-Craftsman: Devi Prasad

This lecture is a biographical and critical insight into the work of India’s pioneering artist-potter, educationist and pacifist, Devi Prasad (1921 – 2011). The gentle sensibilities of his oeuvre belie the fact that they are actually based on a powerful, near-revolutionary mandate that affected not just the history of design in India, but the very basis and nature of India’s policies on education. Positing an aesthetic basis for India’s Freedom struggle, the talk leads us to the impact of the Arts and Crafts Movement on Gandhi, Tagore and Coomaraswamy, each of whom influenced Devi Prasad. His story, then, exemplifies how an inheritance of the Arts and Crafts Movement shaped the nature of Modernism in India.

Naman P. Ahuja is Associate Professor of Ancient Indian Art and Architecture at JNU, New Delhi, where his research and graduate teaching focus on Indian iconography, sculpture, temple architecture and Sultanate period painting. He has recently completed a Nehru Fellowship, under the auspices of which he authored The Making of the Modern Indian Craftsman: Devi Prasad (Routledge, 2011). He has held Fellowships, Visiting Professorships and Curatorial charges at the Ashmolean Museum, Oxford, SOAS, the British Museum and the Kusnthistorisches Institut in Florence. He has curated several exhibitions in India and abroad on themes ranging from Ancient to Modern Art. Some of his publications include: Divine Presence, The Arts of India and the Himalayas (Five continents editions, Milan, 2003) which was translated into Catalan and Spanish, “Changing Gods, Enduring Rituals: Observations on Early Indian Religion as seen through Terracotta Imagery c. 200 BC – AD 200” in South Asian Archaeology, Paris, 2001, and, Ramkinkar Through the Eyes of Devi Prasad (Delhi, 2007).

WORKING ON THE EDGE by Raghu Kondur

Raghu Kondur has been working with the city of Bangalore and mapping the city's changing landscape.This process has brought together many unheard voices and people from the city's under belly. The accelerated change and erasures are inevitable here; the city seems like  a construction site, a battle ground of change and resistance, loss and hope. The unplanned chaos is unnerving; the change in landscape has left us with only real estate as a promise for the future. This is visual response to the absurdity of a city that is at siege, the mocking of a city that seems to be waking up late and has been caught napping. This event is one of the many to focus on Bangalore growth, organized to look at urban issues and to ask questions.The overarching interest at the working class and to find meaning of ordinary people and their life's.

In all this,the worker is someone who plays a significant role. Raghu makes it visible, the images of the city beyond the gloss and hype. Makes you listen to many unheard voices.In this project the heroic worker is made the hero,someone who risks his life for us.It is here that we see the vulnerability of the worker who balances life and work.The artist projects the worker as an active participant in the process of development.And reconstructs the scaffolding as an installation for us to negotiate.

Raghu  Kondur, graduated from ChitraKala Parishath, with a  Bachelor of Fine Arts degree(Painting) in 2004.

Social Practice: an Entry, Showcase of Projects by Students of Srishti School of Art, Design and Technology

Politician -Exhibition of Paintings by Ashok.U

Ashok.U has been consistent as a painter and has been exploring the idea of painting on the format of a box. This concept gave him an opportunity to approach the box with techniques used in package design. His current preoccupation is politics and the politician. He questions the system using popular symbols. In this exhibition fragments of symbols come together to create new meanings. The viewer is invited to visually unwrap the box. The box is empty!


Ashok.U studied at the Ken School of Art, where he graduated in 2000. Ashok works as a graphic designer and has been actively participating in group shows. This is his first solo show.

-- 

A PROGRAM IN MEMORY OF FAMILA

A PROGRAM IN MEMORY OF FAMILA

Organized by friends of Famila

Famila, a radical feminist, very active in queer politics, a Hijra who questioned all forms of hierarchy and feudalist patriarchal systems within and outside the community, a beautiful person who brought in new visions and aspects to queer politics died in the year 2004 when she was 24 years.Famila identified herself as a Hijra, sex worker, bisexual and a feminist. She was a board member of Sangama, an organization working for the human rights of sexual minorities, an active member in Vividha, an autonomous collective of marginalized sexualities and genders. She was also working in Sangama as a project coordinator for Hijras and transgenders.  Her everyday life itself was a challenge to the hetero-normative patriarchal society. Many people during her time boasted about communal living but never succeeded. She was a real example for communal living, as there were many people who lived in her house. It was a house of marginalized sexualities and genders. This shows that she not only identified herself as Hijra but also respected and accepted different sexual and gender identities in its real meaning.Famila was born on 6^th November 1980. She was the first person to go against her own community to accommodate all queer identities, especially the female born sexual minorities, in her house providing shelter.Famila was well known for her clear, straightforward and radical articulation of the struggle of marginalized sexualities and genders in many conferences and programs. She took a lead role in organizing the 2^nd Hijra Habba in Bangalore through the autonomous collective Vividha, mobilizing more than 2000 people for the program and collecting funds from public to fight for the rights of marginalized sexualities and genders.Unfortunately, she passed away in 2004 July, at the age of 24. There has been a huge loss to the work that she planned to do and also that kind of radical politics. For friends of Famila she is not dead and is very much alive for many of us in our memories. A few friends of Famila from last year have started celebrating her birthday in her memory to keep her radical politics alive.We are organizing a program in memory of Famila on 6^th November 2011 at the 1Shanthi Road, Shanthinagar, where her friends will share their experiences with her and some footage will be shown about her. People who would like to share their experiences about the interactions with her are most welcome to do so.  
Speakers – A.Revathi, Shakun Mohini and Chandini

Art reviews Marta Jakimowicz

Keeping me Connected – New Old Media (September 3 to 5) presented the outcome of Sumitro Basak’s residency at Shanthi Road Studio/Gallery.

Spells against anxiety Magic Processors, Jehangir Jani’s exhibition at Shanthi Road Studio/Gallery (September 30 to October 5), looked, and to a large extent was, quite unlike the familiar images of defiant human vulnerability in a hybrid, violent world. As the playful, lyrical works gradually revealed and overcame the underlying tension, the viewer could see that they differed only in degree or rather in their reversed proportion between the anxiety internalised from outside and the redeeming poetry within. As such the new path seems to further delve into a warmer, more peaceful centre that the older now artist instinctively recovers.  In his brief note to the show Jani muses about our daily drudgery, unfair circumstances and endless want wondering what would happen to rational pursuits of there was magic. And, indeed, he went on to conjure its effect on our domestic environs casting spells against the noises and tensions that accompany our life ceaselessly generated by the mechanisms meant to help us do things efficiently and quickly. In the gallery space one found oneself surrounded by white walls with white reliefs scattered almost all over where a large pressure cooker spewed a blender, a mobile and a washing machine, a toaster popped out computer and TV monitors, while the wide open “Alladin’s Briefcase” yielded cars, motorbikes and cellphones, all the elements plastered separate rhythmically and fairly flat on the surface to offer an intuition of a steady, continuous pulse, as though normal in its illogical relationship between the over-size contraptions and the miniatures of vast objects. Whilst the many appliances and vehicles represented the materialistic possessions we ever strive to acquire, the artist so transformed them into toy-resembling motifs in an adult childhood game. The non-colour whiteness of it all embedded in the architecture created a sense of calm and a tabula rasa to be inscribed with potentiality. The gay softness of the plaster of Paris with resin and cotton pulp appeared to be absorbing and muting the technological whirr and tension of the machinery. The magic of young innocence could even turn the old-fashioned meat mincer, this art-historical sign of the human flesh as cannon fodder, into its antidote metamorphosing guns into riotous horses and sheep. Like a child willing the mundane into the phantasmagorical, Jani made his chair a flying scooter and let a two-wheeler exhaust butterflies. The auto-rickshaw relief was used in the video piece “Cop and Goat,” as the artist playing his aged father enters it along with a child and other characters to go to a cricket match. On a nostalgic-mischievous note, the participants gesticulate, are thrown out of the auto to get back to it, until the beautiful Chandramukhi goat nibbles at the policeman with a toy riffle and eats the vehicle which has fallen apart. Used to the intensity of Jani’s mainstream sculptures and installations, at least the earlier ones, which flaunt drastic conditions and force the onlooker to confront uncomfortable, distressing issues before offering insights of feeble resolution, one may have taken the show just lightly, since it asks for it first. As an environment entirety, nevertheless, it was pervasive in atmosphere eventually allowing for the realisation that the childhood magic there was equated with the saving grace that the potential of art holds. Mapping meanders The young artist from Kolkata, for the first time anywhere in south India, was surprised to find familiar sights and situations instead of the differences expected from this technology-driven city. The continuance of tradition in contemporary life here stimulated him to look for a common ground between the two local cultures while exploring the novel place. Having worked with rangolis in Bengal villages, he responded comfortably to their Bangalore variants, in particular that their curving and spiralling trajectories that refer to cosmic symbolism must have appeared to layer over the enmeshments of urban traffic and flyover flights that serve to connect people. The resulting work on the gallery floor indeed was a rangoli of his own, footprints denoting his entry, the meanders alluding to tracing of the metro, street webs, map charts and rippling streams among which Basak tried to mark places as well as images known to him now inclusive of divine chariots, signboards, ritual motifs, dotted rows and plastic palms, all distributed on the flat so as to relate to the fluid diagram rhythm. As much as one liked the graceful and readable idea behind the effort and appreciated the appropriateness of the details, the whole was perhaps somewhat literal, hence did not generate enough sensation.

What I Owe - A Photo Essay by Dipti Desai

These images were shot in Lalbagh and this photo essay is an exploration of the gratitude we owe to the gardeners of Lalbagh.
As I continue to consume, discard, hoard, clutter and rush, I pause.Sometimes.
Interrogating my pseudo responsible, malnourished consciousness. Every single day, as I walk or wait under a tree, I am aware of undeservingly becoming the recipient of a conserved space and its Spirit. The unheralded guardians of genius loci of every conserved space heal the acrid human spirit. With humility and magnanimity they sow, toil, nurture, for the ones yet to inherit it.

This awareness challenges me to dwell and remind myself of the gratitude I owe them. With every column of mortar rising in my city, a tree
dies, the dryad cannot afford to die. For he, has chosen something larger.

An ecologically and socially valuable premise as this, fosters social interactions and contributes to well being in more ways than one can
acknowledge. My ingratitude so far is inexcusable and I present these series of images in honor of every gardener of every space as this.

Dipti Desai is a freelance Photographer. She lives and works in Bangalore.

This Project is supported by the Robert Bosch Engineering and Business Solutions Limited under the Robert Bosch Art Grant 2011, made to 1.Shanthiroad Studio/Gallery, Bangalore.

Open Call for Applications: CURATORIAL RESIDENCY @ 1.Shanthiroad Studio/Gallery, Bangalore

Khoj International Artist's Association, New Delhi in collaboration with VAC-Visual Art Collective~1.Shanthiroad Studio/Gallery, Bangalore is hosting a residency programme for young curators as part of the four-year Curatorship Programmeconceptualized by India Foundation for the Arts (IFA) in collaboration with select institutions across the country. This is the third residency in a series of projects that KHOJ will undertake as the nodal centre facilitating curatorial practice in the visual arts. The Curatorship Programme is funded by the Jamsetji Tata Trust.

The residency aims to establish a model of practice-based training for curators. The resident curator (two curators shall be selected for the residency) will benefit from the support and network of art practitioners that are associated with KHOJ and 1.Shanthiroad Studio/Gallery. The first of its kind residency aims to develop a training ground for emerging curators who will engage with various modes of artistic practice as well as be actively involved in critical writing.  

We are pleased to invite applications from contemporary arts curators for the third residency in 2012.  

In conversation+Slide presentation with Artists- in-Residence

Bernhard Herbordt and Melanie Mohren are graduates of the Institute of Applied Theatre Studies in Giessen, Germany. Since 2000, they have created joint performances, installations, radio plays, (Music-) Theatre works and staged exhibitions. Since 2010 first Episodes of their long term research and archive project „Alles was ich habe“ (All that I have) were shown in Berlin, Stuttgart, Frankfurt, Mannheim and Novi Sad. From 2008-2010, Herbordt/Mohren were fellows of the Academy Schloss Solitude in Stuttgart and 2010 at the new media center kuda.org in Novi Sad, Serbia. Since 2011 Herbordt/Mohren are members of the Young Academy at the Berlin-Brandenburg Academy of Sciences and the German Academy of Natural Scientists Leopoldina.

They are part of the Residency programme of Goethe Institut at 1.Shanthiroad studio.

Pradeep Thalawatte’s artistic investigations incorporate highly urban situations: industrial materials, mass-production, pop/celebrity icons and personal episodes of his life. His works deal with absorption with urban allure, commenting on consumer anxieties and feelings of isolation and loneliness in the big city.

“The items chosen for the background in my work are mass-produced and mass used items and the images that are represented are individuals with whom I tend to associate very closely. What is expressed within the background and foreground represents relationships that cannot be ignored or avoided. They are decided based on personal selections, individual tastes, continued usage, authenticity and conveniences.”

He is part of Theertha Collective and has been awarded the Commonwealth fellowship to work at 1.Shanthiroad Studio

     

"Magic Processors" By Jehangir Jani

September 30th, 6.30pm Onwards,
Until 5th October 2011,
@ 1.Shanthiroad Studio/Gallery,
Bangalore-27.

Jehangir Jani has had 14 solo shows and participated in several group exhibitions in India as well as abroad.He has been invited to National seminars, residencies and camps including International Sculptor’s Residency, JACIC, Mumbai, Khoj International Workshop, Bangalore, Fine Art Resource, Berlin. He was a visiting Lecturer at the Ecole Des Beaux Arts, Paris, France in 2003. His short film “Make Ups” has been exhibited in festivals in India, Sweden, France, USA and other countries in Europe. A monograph “Alternate Lyricism” is published by Mapin, India and supported by The Guild Art Gallery and Gallery Espace. His works are published and written about in other books on contemporary Indian art and practices like the KHOJ BOOK 2010 and Twentieth Century Indian Sculpture. Jehangir Jani has been a freelance artist since 1990. He lives and works from Mumbai.

ART -ICULATING SOME THOUGHTS a presentation by ANNIE PAUL

ART- ICULATING SOME THOUGHTS

a presentation by

ANNIE PAUL

writer and critic

Wednesday 14th September 2011 at 7.00pm

@ 1.Shanthiroad Studio/Gallery

1.ShanthiRoad ,Shanthi Nagar,

Bangalore - 560027.

ART- ICULATING SOME THOUGHTS

My presentation will be a survey of noteworthy artistic interventions, exhibitions and articulations in the Anglophone Caribbean alongside a look at how art-making is being reformatted globally in the twenty-first century. My hypothesis is that the practice of Art in the Caribbean as in many other places is premised on notions of art that prevailed and flourished in the twentieth century; this being the formulation of a series of objects, actions or discursive events that circulated primarily, if not exclusively, within rareified art circuits. The idea is not to postulate anything but to raise some questions and hope for a stimulating debate with my audience.

ANNIE PAUL is a writer and critic based at the University of the West Indies, Mona, where she is head of the Publications Section at the Sir Arthur Lewis Institute of Social and Economic Studies. Editor of the book Caribbean Culture: Soundings on Kamau Brathwaite Paul is the recipient of a grant from the Prince Claus Fund (Netherlands) in support of her book project on visual art and popular culture in postcolonial Jamaica. She was one of the founding editors of Small Axe (of which she remains an associate editor) and the original Caribbean Review of Books; she has been published in international journals and magazines such as Slavery & Abolition, Art Journal, South Atlantic Quarterly, Wasafiri, Callaloo, and Bomb. Paul has also been a contributor to the Brooklyn Museum’s Infinite Island show; GZTriennale, Documenta11; the AICA 2000 International Congress & Symposium at the Tate Gallery of Modern Art, Bankside, London; Meridien Masterpieces, BBC World Service; Dialogos Iberoamericanos (Valencia, Spain) and to forums sponsored by inIVA (Institute of International Visual Art, London).

Paul is author of the blog Active Voice and her website is: http://www.anniepaul.com/ . You can follow her on Twitter @anniepaul.

Re-Look 17 "The Reluctant Modernist: KK Hebbar 1911-1996" talk by Suresh Jayaram

Somberikatte @ 1Shanthiroad

presents
RE-LOOK : Lectures on Indian Art
The Reluctant Modernist:
K K Hebbar 1911- 1996


a lecture by
Suresh Jayaram
Art Historian, Bangalore

Friday 9 September 2011 at 6:30 pm
@ 1Shanthiroad Studio/Gallery,
1, Shanthi Road, Shanthi Nagar, 
Bangalore 560027

The Reluctant Modernist: K.K.Hebbar 1911-1996

Though K.K.Hebbar was not represented in the modern Indian art historical context, he was revered in Karnataka. He was not seen in the same light as his contemporaries for many reasons: Hebbar was seen as a regional figure and often never mentioned. A monolithic history of modernism was written by tracking the trajectories of avant- garde artist movements, manifestos and path breakers. Many artists were thus overlooked and grouped together to represent a period in art history. Hebbar was reluctant to be a part of the historical Progressive Artists Group. He was not seen as radical or political, but was clubbed along with other contemporaries of the Progressive Artists Group in the milieu of Mumbai. Yet, his work fits into the manifesto of the Progressive agenda of “aesthetic order, plastic coordination and color combination”

In celebrating his reputation with a retrospective at the NGMA, Bangalore will seal his contribution and position him with other popular contemporaries in the canon of Indian Modern art as a quintessential modern Indian Painter on a quest for national identity. Hebbar’s work reflects a single minded devotion to his vocation and his art reveals a series of influences that constructed the legacy of modern Indian art. But what overshadows his work is his own personality as a visionary and a humanist.


Suresh Jayaram, art historian, artist and art administrator received the Nehru small study grant for his MA dissertation on KK Hebbar at MS University Baroda in 1992. He first studied in, and later taught art history in the Karnataka Chitra Kala Parishad and has been Head of Department and Principal of the art school. He has received the Charles Wallace Grant to work at the Gasworks Studio in London, and the Arthink South Asia Fellowship in Berlin. He has exhibited often as a painter and writes for art magazines and journals. In 2002 he founded the independent artist space 1 Shanthiroad in Bangalore. Besides researching contemporary Indian art, he has focused on studying Bangalore’s horticultural heritage. He is part of the working team of the Khoj International Artists’ Association and has been involved in curating their South Asian residency Programme. His most recent assignment is as curator of the Colombo Art Biennale 2012.

*Somberikatte: Somberikatte is a Kannada word meaning idler’s platform- usually the platform around a large tree where people gather to gossip and exchange news. It is a fictional institution, sometimes a forum, sometimes a film production company or the name of a photo studio, used by the artist Pushpamala N.

*1 Shanthiroad: The Studio/Gallery at 1 Shanthiroad, Bangalore, is anindependent artist run space for art residencies, slide lectures, small conferences, exhibitions, performances, screenings and informal gatherings. Centrally located with an award winning design, it was founded by Suresh Jayaram and is administered by a not-for-profit trust VAC – Visual Art Collective.

www.1shanthiroad.com

Keeping me connected - NEW OLD MEDIA By Sumitro Basak

Keeping me connected-NEW OLD MEDIA

3rd September,Opening at 6.30pm,

the show is on till 05 September 2011- 11 am to 8 pm.

Venue: 1.Shanthi Road studio/Gallery,Bangalore.

Sethusamudram Residency-2, Exhibition @ theertha International Artists Collective, Colombo,September 2011

Sethu Residency 2 Exhibition 
@theertha International Artist collective,Colombo,

3 September onwards

Until 24^th sep 2011.

@ Red Dot Gallery,

Pita Kotte,

Srilanka.

RE-LOOK : Lectures on Indian Art “The Dead Object of Public Statuary” a lecture by Tapati Guha Thakurta

 

 

 Somberikatte

Presents

RE-LOOK : Lectures on Indian Art

“The Dead Object of Public Statuary”

 a lecture by

Tapati Guha Thakurta

Historian, CSSS, Kolkata

Tuesday 16 August 2011 at 6:30 pm

 @ 1Shanthiroad Studio/Gallery,

 1.Shanthi Road, Shanthi Nagar, 

 Bangalore 560027

The Dead Object of Public Statuary

Despite their largeness and privileged locations, public statuary are usually rendered the   most ignored objects of public spectator-ship, consigned to a status of being neither ‘art’ nor ‘icon, neither ‘high’ nor ‘popular’ visual culture. With a focus on Kolkata’s’s colonial and post-colonial statues, the paper interrogates the public lives and functions of these objects from three angles: firstly, looking at the logic of the form and materiality in this genre, and the purposes they serve in transforming human likeness into official symbol; secondly it explores why statues continually fall short of being sculpture, and thirdly it tracks the transition of the colonial to the post-colonial in the changing sculptural iconography of the city.

Tapati Guha Thakurta has written widely on the art and cultural history of modern India, and is currently a Professor in History at the Center for Studies in Social Sciences, Calcutta (CSSSC). Her two main books are The Making of a New 'Indian' Art: Artists, Aesthetics and Nationalism in Bengal(Cambridge University Press, 1992) and Monuments, Objects, Histories: Institutions of Art in Colonial and Post colonial India (Columbia University Press, and Permanent Black, 2004) besides several monographs. She has recently curated an archival exhibition of the CSSSC, titled The City in the Archive: Calcutta’s Visual Histories, which was on view at the Seagull Arts and Media Resource Center, Calcutta, from July 8 - 26, 2011. She is presently completing on a book on the visual cultures of Durga Puja in contemporary Calcutta.
http://autoraj.tumblr.c

CAUGHT BY TRAFFIC II , By AUTORAJ

CAUGHT BY TRAFFIC II
@ Shanthiroad studio/Gallery
On 13th August 2011 &20 th august 2011


Autoraj has officially taken up residence at the 1.Shanthiroad studio/gallery.Autoraj is the india leg of a project that attempts to re imagine cities from the position of drivers of public transport. The project doesn't just look at any public transport, but forms of transport that can be thought of as operating between the cracks of policy and regulation. In the case of Bangalore the Rickshaw driver is the focus of the project. What kind of Bangalore can be constellated from his perspective?
The project poses art making as a kind of visual research process, and will be an ongoing and fluid questioning of connections between people objects places, sounds and images. The gallery will function as a kind of studio or project space and will be open daily from 13:00 - 16:00 until the 24th of August.

Caught by Traffic is a project by Zen Marie, an artist based in Johannesburg South Africa and is supported by WITS university's faculty of the humanities, the institution where he teaches.
www.zenmarie.com 

For more information on the project visit the blog at http://autoraj.tumblr.com/

Playing 1ShanthiRoad - Sound and its Other, By Runo Søchting

Rune Søchting

Playing 1ShanthiRoad - Sound and its Other
Presentation at 1 Shanthi Road
Wednesday August 10th, 2011, 6:30 PM


Playing 1ShanthiRoad - Sound and its Other
Danish artist Rune Søchting presents his recent works on sound as a spatial and relational phenomenon. Particularly the notion of silence is investigated and how it relates to space, language and memory. He presents a project that has been developed as a search for silence in the gallery space at 1ShanthiRoad. The site-specific investigation explores the phenomenon of standing waves where the outcome is a mapping of the unique resonant properties of this gallery space and how it responds to different frequencies at different locations within the room.


Rune Søchting is an artist and composer of electronic music based in Copenhagen, Denmark. He works at the intersection of music composition, performance and installation with a main focus on sound. He has been particularly interested in the physical aspect of sound and how it determines the shape and atmosphere of a given space. In a number of recent works he has also explored the notion of sound as a social and cultural phenomenon linking it to concepts such as memory, history and identity.


He has been teaching experimental work with sound, techniques and the history of sound based art in different contexts, among others at the Royal Danish Art Academy, The Danish Music Academy in Århus and the IT-University in Copenhagen. He is the coordinator for Nordic Sound Art, a two-year Joint Master program for work with sound based art within an inter-Nordic coalition of art academies. He has conducted numerous workshops, lately in India and Hong Kong. He is currently writing a Ph.D. on sound as a social and spatial phenomenon.
www.vaesen.dk