VISUAL ARTS->Presentations

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A View to Infinity | Nasreen Mohamedi

20th 
 |  | 6.00 pm | Auditorium, National Gallery of Modern Art, Mumbai

Roobina Karode will discuss the ongoing exhibition at the Kiran Nadar Museum of Art showcasing Nasreen Mohamedi’s retrospective, ‘A View to Infinity’. She will be expounding on the curatorial choices she made in the shaping of the exhibition, the challenges she encountered and share her ongoing formulations on Nasreen’s distinctive art pedagogy and practice, her oeuvre and the trajectory of subliminal abstraction that she steered at a time when figural narration was predominant in India.

As her student at the Faculty of Fine Arts, M.S. University of Baroda, and as her neighbour, Karode came to know the artist very closely through many interactions with the artist from 1977 to 1990. Having spent long hours at her studio-cum-home, she will be sharing the artist’s persona with the audience through personal anecdotes and rare insights registered by her into the self-evolving discipline of Nasreen, with regard to both, her art and life.

 

Inter-Asian Movements Of Art Across Global Cities: The Mumbai Pavilion At The 9th Shanghai Biennale

13th 
 | 6.30pm | Visitors's Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai

The lecture investigates central aspects of the globalization of the art world: the circulation of the biennale cultural form, its appropriation in many geographical locations and the contents and questions generated through these processes.

 

Beyond Geometry and Memory

29th 
 |  | 6.30 pm | Visitor's Center, CSMVS, Mumbai

Yashwant Deshmukh, now in his early fifties, looks back at and beyond the evolution of his practice that spans over 25 years. Deshmukh’s canvases reverberate what his innumerable drawings silently observe. A brief interaction with his work exhibited so far might lead to traces of 'style' - muted colours that subdue layers of texture and almost geometric shapes marked with bold outlines. These impressions do last, as Deshmukh maintains a steady pace. During the two and half decades, a gradual process of arriving at an accomplishment in form and style, sensing a comfort zone and then a departure, can be sensed in his oeuvre.


The first departure the artist made was from the Sir J.J. School of Art, Mumbai, where he was trained. He took to drawing with a resolve to unlearn. The solitude ended after many months, and so did the artist's search for subject. His drawings and the imminent paintings had revealed to him that the subject is within. He became a narrator of his own visual experiences. His technique facilitated aggregation of the personal. The artist took geometry to a literally impossible task- to evoke feelings. The presentation and conversation is aimed at mapping the points of departure in Deshmukh’s work. It is a journey to the expanses of Vidarbha region, to a distant village in Vasai, to Mumbai where he lives and works and to the cities and countries he visited while his work grew beyond cultural codes.


Admission free and open to all | The program will be in Marathi and English.

 

FLUID CONVERSATIONS

27th 
 |  | 6.30 pm | Studio X, Mumbai

Parvathi Nayar’s uniquely hybrid work examines the narratives of spatial relationships: both the internal spaces within our bodies, and the external in which we live, and often through the prism of science and technology. By treating her artworks as sites of dialogue where different elements – the scientific and the intuitive, the historical and the contemporary – meet and converse, she encourages viewers to re-experience once-familiar perspectives.


Prajakta Potnis’s work dwells between the intimate world of an individual and the world outside, which is separated sometimes only by a wall. She refers to the wall as a witness to history that has traces of inhabitance embedded within. She tries to contextualize the wall as a membrane through which imperceptible elements pass and affect the psyche of individuals, addressing private and social anxieties.


In Fluid Conversations, the artists will present selected works to introduce their practice, and specifically focus on their exciting site-specific installations at the Kochi Biennale 2014-15. Exploring the linkages between inner and outer spaces, the conversation will trace multiple trajectories in their practice that find a resonance in their projects at the Biennale.


Admission free and open to all.

 

Sets & Displays

21st 
 |  | 6.30pm – 7.30pm | The Hive, Khar, Mumbai

FOCUS PHOTOGRAPHY FESTIVAL 2015 | EDUCATION PARTNER: MOHILE PARIKH CENTER

The artists, Swapnaa Tamhane and Aman Sandhu, have been interested in the idea of display, particularly some of the strategies of display in relation to the consumer. Taking particular reference from shop windows in small towns of Germany, which have a certain emptiness, the series of photographs that have formed their research, are linked to the concept of phantasmagoria. The site-specific work, SETS (2015), produced for FOCUS Festival at The Hive discusses this concept.


The artists are based in Germany, and have been working in collaboration since 2011. Their concerns are connected back to a dialogue around landscape, space, or culture. Past works include drawings, sculptures, performances, that are responsive to new landscapes in which they have found themselves. They use the term landscape in a broad sense, linking them to ideas of displacement, diasporic sensibility, inner and outer responses, and environmental influences.


Admission free and open to all

 

As If All the Parts Were Slowly Changing

20th 
 |  | 6.30 pm | Chemould Prescott Road, Fort, Mumbai

CAMP talks about the mutual development of ideas, collaborations and "encounter strategies" in As If (I- IV), their series of ongoing exhibitions across Kolkata, Delhi and Mumbai. As If is expanded upon as the title and framing device of these series of shows. In conjunction with their exhibition, As If - IV Night for Day, the Mohile Parikh Center presents a talk, followed by a walkthrough by CAMP, at Chemould Prescott Road.
In early film craft, Day for Night was when night scenes were shot in the day - a trick of necessity. Night for Day propagates this idea in the reverse direction. Screens fill the space with electric, sonic, filmic and other uncategorisable works from 2003 to 2015 that took place in the nighttime worlds of Bombay, Delhi, Kabul, Dakar, London, and other non-places exploring time, energy and imagination on the other side of the 'everyday'. CAMP brings into the gallery their version of what was once called the 'virtual', which not so long ago broke the horizon of what is (or what could have been) possible to see, hear or sense.

In collaboration with Chemould Prescott Road.

 

NINE TIMES NINE

14th 
 |  | 4.30pm – 5.30pm | Bombay Electric, Colaba, Mumbai

FOCUS PHOTOGRAPHY FESTIVAL 2015 | EDUCATION PARTNER: MOHILE PARIKH CENTER
Swiss artist, Mirjam Spoolder was inspired by the nine districts of Delhi to create this exhibition, Nine Times Nine, a project which questions what one’s place is in this overpopulated and multicultural world. While discussing these works, the artist will develop nine wearable objects out of these photograph patterns, with the aim to crossover four different mediums into one form of art: photography, design, sculpture and performance art. The project is supported by a grant from Pro Helvetia - Swiss Arts Council and IAAB / Ateliermondial in Basel, Switzerland for a residency in Delhi.

Born in the Netherlands, Mirjam has lived and worked in Basel, Switzerland since 2007. She studied sculpting at the art Academy in Enschede and Theatre in Rotterdam. Finally, after moving to Switzerland, she finished her education in Master of Fine Arts in Basel in 2010. She reflects art into fashion design by producing individual art pieces and transforms them into performance art. Through photography, she tries to capture these three mediums together into one image.

 

PLURAL MODERNITIES? The Articulation of Cultural Difference in Modern and Contemporary Art

19th 
 |  | 6.30pm | Visitors' Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

The way modern Indian art and Indian culture are viewed in globally important art institutions has changed. This is evident from recent displays at the Centre Pompidou in Paris, the Venice Biennale, London’s Tate Modern, the New York Guggenheim and Rotterdam’s Witte de With. No longer are indebtedness and belatedness the only prisms through which Indian and other non-Western forms of modernism are viewed. The examples of Nasreen Mohamedi, V.S. Gaitonde and Tyeb Mehta illustrate the shift in understanding.

Will the new openness result in a more widespread revaluation of culturally inflected modernism? This talk will refer to the sentimentalism of twentieth century Indian art, an emotiveness that departs from established norms of modernism. The artists cited are Ravi Varma, Abanindranath Tagore, Chittaprosad, S.L. Parasher, Nasreen Mohamedi, Amar Kanwar, and A. Balasubramaniam. Further, the biennial as the primary mode of the dissemination of contemporary art will be investigated with questions of how well-equipped it is to accommodate cultural difference.

Admission free and open to all.

 

THE ART OF SECULARISM

24th 
 |  | 6.30pm | Auditorium, National Gallery of Modern Art, Mumbai

Karin Zitzewitz’s 'The Art of Secularism: The Cultural Politics of Modernist Art in Contemporary India' addresses the entanglement of visual art with political secularism. The crisis in secularism in India is commonly associated with the rise of Hindu nationalism in the 1980s. A variety of commentators have noted how the Hindu nationalist movement made innovative political use of iconic images associated with Hindu mythology, challenging the relationships between modernism, national culture, secularism and modernity that had been built since India’s independence in 1947.The Art of Secularism describes how that political shift radically transformed the terrain of modernist art, which had often drawn upon religious iconography as a largely secular form of national culture.

In this talk, Zitzewitz examines how three renowned modernists, M. F. Husain, K. G. Subramanyan, and Bhupen Khakhar, grappled imaginatively and very differently with the re-enchantment of signs. Her research attests to the depth and range of modernist experimentation with secularity in India, but also the unequal freedom that artists have to use religious iconography in their work.

Admission free and open to all.

 

ARTISTIC CREATIVITY | WESTERN AND INDIAN PERSPECTIVES

22nd 
 |  | 6.30pm | Auditorium, National Gallery of Modern Art, Mumbai

The talk compares Western theories of artistic creativity with those of the Hindu tradition. The focus of Western theories has been the creative person. Psychoanalysis continued this tradition by emphasizing the biographical roots of creativity, tracing its source to the creative person’s emotional conflicts and highlighting the therapeutic function of creativity. There is recently a shift from the psychological to the biological in that the special nature of the creative person’s cognitive and perceptual processes are receiving greater attention. Indian foundational texts on creativity, on the other hand, do not concentrate on the personality of the creative artist that needs to be transcended for the creativity to flower. Creativity arises from his or her participation in a transcendent-spiritual unconscious. Kakar then looks at an anthropological study of traditional painters and the views of Rabindranath Tagore, perhaps the greatest creative genius produced by India in the last two hundred years, to discuss the contemporary relevance of the traditional Indian view of creativity.

Admission free and open to all.

 
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