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Category: Arts & Culture

  • ‘Loal Kashmir’

    ‘Loal Kashmir’

    Conceived during the first wave of the Pandemic, the filmmaker got in touch with film professional friends as no shootings were being held and got working. Stressing that the movie is an amalgamation of stylized ideas, Jamal says it had to do with her mental and emotional space at that time…reports Asian Lite News

    What happens to love in the time of conflict? Does it survive something like a complete communication blackout? Can conflict be seen through the prism of love, of longing?

    Well, that is what Kashmiri filmmaker Mehak Jamal’s upcoming book ‘Loal Kashmir’ is about. The project started two years ago when she started collecting stories of love in the times of unrest in the Valley.

    “The respondents were moved by the concept, after all when it comes to Kashmir, the overpowering narrative is always conflict. Also, love can be taboo to talk about sometimes. Personally, to look at the larger situation in Kashmir through the lens of love was peculiar and gratifying…”

    Born to a Kashmiri father and a Maharashtrian mother, Jamal moved to Bengaluru for college in the year 2012 and graduated from Srishti Institute of Art, Design and Technology with a specialisation in Film in 2016. In fact, her graduation film got her selected as a film fellow at the Dharamshala International Festival Festival (DIFF) some years ago.

    This time, at the recently concluded DIFF, her first non-student Short ‘Bad Egg’ was screened.

    In the film, Zoya receives a disturbing call from her mother — her sister Zara has gone missing during the pandemic. But, Zoya is not rattled enough. She’s hiding something, all of which leads back to the fateful night of a party. Throughout the film, Zoya interacts with her surroundings as if she is re-calibrating with them.

    Conceived during the first wave of the Pandemic, the filmmaker got in touch with film professional friends as no shootings were being held and got working. Stressing that the movie is an amalgamation of stylized ideas, Jamal says it had to do with her mental and emotional space at that time.

    “It is a psychological drama thriller, and that is something that I have always been interested in. There is always an urge to draw the audiences to experiences and tell them a ‘secret’, slowly giving them hints but not completely revealing till the ‘right’ moment. We had fewer resources, days, and people, and I wanted to make something that would work in that. The characters are twins, I also created them because I find twins very cinematic.”

    ‘Bad Egg’, which premiered at the Indian film festival in Germany and won the Audience Award was also shown at the Indian Festival of Melbourne and in Kerala.

    Talking about the format of Shorts, she says it has a grammar of its own and when writing one, it is easy for her to see the end. “It allows me not to tell the audience everything and ask a lot of questions. If it was a feature, I would have to answer all the questions. I have the liberty to tell the story to the point I want to. You can play with the structure.”

    Considering she is from Kashmir, is there not a certain internal pressure to work on stories from there?

    “Yes, it does feel obligatory. But I also quite vary about it. I am interested in telling stories because there are so many, and conflict is such a major part. Sadly, most narratives that emerge from there are seen through the prism of the media. I would like to tell personal stories that carry inside them multiple metaphors,” she says.

    Now that the valley has a multiplex, and book readings and intimate music concerts at cafes have become a norm, the filmmaker asserts: “It is a melting pot of talent. And there are so many young people who are opening cafes and a solid music scene is emerging. It is high time that people from there tell their stories and create more art.”

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  • ‘The Paradise of Food’ wins Rs 25 lakh JCB Prize for Literature

    ‘The Paradise of Food’ wins Rs 25 lakh JCB Prize for Literature

    “The Paradise of Food” is the fourth translation to win the award and the first work in Urdu. Khalid Jawed also received the Prize trophy, a sculpture by Delhi artist duo Thukral and Tagra, entitled ‘Mirror Melting’…reports Asian Lite News

    Khalid Jawed’s “The Paradise of Food”, described as “a brutal and mesmerizing account of the contemporary body, home and nation told through the food and kitchen” and published by Juggernaut, was declared the winner of the Rs 25 lakh JCB Prize For Literature 2022, India’s richest literary award for contemporary fiction by an Indian writer.

    The winner was announced on Friday by JCB Chairman Lord Anthony Bamford virtually during the hybrid event where the trophy was handed over to the winning author by Sunil Khurana, Chief Operating Officer, JCB India, and Jury Chair AS Panneerselvan.

    “The Paradise of Food” is the fourth translation to win the award and the first work in Urdu. Khalid Jawed also received the Prize trophy, a sculpture by Delhi artist duo Thukral and Tagra, entitled ‘Mirror Melting’.

    The book was selected by a panel of five judges, including Amitabha Bagchi, Dr. J Devika, Janice Pariat and Rakhee Balaram. Jury members were unanimous in their praise for “The Paradise of Food”.

    Panneerselvan described the book as a “celebration of human spirit, hope, loss, aspirations, and anxiety. It is a fine artistic achievement where aesthetics negotiates a difficult political trajectory that is haunting our country. The carnivalesque element makes this a modern fable”.

    Said Janice Pariat: “This rare, beautiful book achieves, with exquisite, startling, singing prose, what few others have in recent and not-so-recent-years a microscopic yet epic exploration of humanity in all its ugliness and beauty, its cruelty and kindnesses, its silliness and wisdom. I was left amazed, enthralled, thrilled.”

    Amitabha Bagchi said: “This singular and moving book shines a scintillating light on the violence at the heart of human civilization. The language contains several beautiful and unusual formulations that are a literary achievement by both the author and the extremely skilled translator. A literary landmark in a less celebrated genre of Urdu’s grand literary tradition, this work deserves to be widely read in India and beyond.”

    Dr. J Devika said the book “works like a powerful ice-pick in the winter of the civilizational crisis that has engulfed the countries of South Asia. And it does this by mobilising the poetic powers of Urdu, placing liberation above nation-building, which we think is the work of a novel. The translation is perfect and inspired”.

    Rakhee Balaram said: “A book of indescribable brilliance, (it) blazes a trail and redefines the contemporary Indian novel. Beauty and horror, sacred and profane, the book attracts and repels us as we turn each page. Our understanding of the personal and political intersect through the food and kitchen in the most unforgettable ways.”

    Khalid Jawed is one of today’s leading Urdu novelists. He is the author of fifteen works of fiction and non-fiction, and is a recipient of the Katha Award, the Upendranath Ashk Award and the UP Urdu Academy Award. He is a professor at Jamia Millia Islamia University.

    Baran Farooqi is a professor of English at Jamia Millia Islamia University. She is the acclaimed translator of “The Colours of My Heart”, a selection of poems by Faiz Ahmed Faiz.

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  • The bleeding border

    The bleeding border

    It is often said that the Bengal Partition in comparison with that on the western border of India has not received much literary attention…writes Sukant Deepak

    It’s a question that has continued to haunt till today, even after seventy-five years of the Partition. Cyril Radcliff, whose fateful line of demarcation divided the Indian territory into a Hindu India and a Muslim Pakistan, had never before been to India, nor had he the necessary skills for drawing a decisive border. But it was he who emerged as the destiny in the history of Partition that involved gruesome sectarian violence, persecution of minorities and wide-scale migration whose legacies (unfortunately) are visible even to this day.

    “The Bleeding Border – Stories of Bengal Partition” (Niyogi Books) is an anthology of twenty-four partition stories written by both prominent and lesser-known authors from West Bengal and Bangladesh. The poignant descriptions of various forms of violence, tension and anxiety at the porous border of two countries make these stories disturbing reading. They delineate the ghastly communal riots at various places and the trauma and disruptions of memory caused by them, the exodus of the refugees’ from the then East Pakistan and their fierce struggle for survival in newly mushrooming colonies at unknown terrains, and above all, the nostalgia for an imaginary ‘desh’ (motherland) that defies cartographic barriers.

    It is often said that the Bengal Partition in comparison with that on the western border of India has not received much literary attention. Some even go to the extent of saying that celebrated Bengali writers, more or less, remained silent’ regarding this cataclysmic issue. Thus, ‘Partition Literature’ has become almost synonymous with the writings of Saadat Manto, Bhisham Sahni, Intizar Hussain, Joginder Paul and others, and we often tend to ignore the contribution of the authors from the eastern and north-eastern parts of the country and Bangladesh.

    This obviously speaks of a politics in the formation of canon particularly when it is evident that Bengal Partition fiction is no less powerful and appealing than its western counterpart. One may think of short stories and novels by the authors like Jyotirmoyee Devi, Pratibha Basu, Manik Bandyopadhyay, Sunil Gangopadhyay, Shirshendu Mukhopadhyay, Prafulla Roy among many, from the side of Bengal, and Syed Waliullah, Hasan Azizul Huq, Rizia Rahman and others from the Bangladesh side. The list of authors of Bengal Partition literature is not only huge in its corpus but immediately relevant in the socio-political context of the present day.

    The stories of this present anthology include some of the most striking and dominant themes of the Bengal Partition and its aftermath. One major theme is obviously the ceaseless movement of rootless masses in search of safe shelter in an ambience of generalised violence.

    Bengal Partition literature offers more than a stereotypical discourse. It has a tremendous sense of contemporaneity and it addresses various issues with which the readers of the present day may immediately identify.

    “The stories are representative of Bengal partition fiction in their poignant depictions of various forms of violence, agony and anxiety at the border’ which is porous and bleeds still,” co-editor of the book Joyjit Ghosh said.

    “Most of the stories included in the volume have been translated into English for the first time. They are largely concerned with the human dimension of Partition’ and delineate the discontents and trauma of countless refugees’ when the Partition of the country was thrust upon them overnight. But they are nostalgic narratives as well, as they voice a craving for a desh’ that knows no margins or barriers,” co-editor Mir Ahammad Ali said.

    On publishing the book, Trisha De Niyogi, Director and COO, Niyogi Books, said: “Sometimes all it takes to revisit your history is just relocate yourself in a timeframe long left with the narratives unheard, hushed down, or perhaps ignored. The Bleeding Border: Stories of Bengal Partition is a collection of Partition stories of those kinds on the eastern frontier—a rare assemblage. As a publisher, it is somehow our responsibility as well to unearth those unheard narratives and re-asses history as it is.”

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  • ‘I only see human beings talking to me’

    ‘I only see human beings talking to me’

    Stressing that it is important that stories from small towns are ‘revealed’, the filmmaker firmly believes that each person has a perspective, a gaze that is as unique as their nature, personality, and expression…writes Sukant Deepak

    He recalls reaching home (Shimla) after winning the top prize at IDSFFK 2016 in Kerala for his short film ‘Papa’ and feeling extremely unsatisfied. “I had played it very safe,” he smiles.

    That was the moment when he decided to go all out and tell a story that was bigger and bolder. “And I started writing ‘Amar Colony’. The idea was to expand on my short film,” filmmaker Siddharth Chauhan tells.

    His debut feature will have its world premiere at the ongoing 26th Tallinn Black Nights Film Festival in Estonia (First Features – In Competition) and India premiere at the International Film Festival of Kerala next month. It was the first project from a local filmmaker of Himachal Pradesh to make it to NFDC Film Bazaar’s Co-Production Market.

    Set in Shimla, the movie has multiple tales — a crippled widow who wants respect for her pigeon; a lonely pregnant woman who finds her solace in a tomato; and a devotee of Lord Hanuman who battles paranoia with a mace. Their lives come together at Amar Colony, a chawl in Shimla.

    Quietly, a slum lives in the hills.

    Chauhan wrote the first draft in seven days in 2016 and made a few revisions over the next few years – visiting the script after intervals until 2018 when it was selected to be a part of NFDC’s Co-Production Market. The project created quite some buzz there and reinforced his belief in it.

    Stressing that it is important that stories from small towns are ‘revealed’, the filmmaker firmly believes that each person has a perspective, a gaze that is as unique as their nature, personality, and expression.

    “Moreover people like me – who are born and brought up in small towns do not think in the same way as those in major cities. Shimla, my hometown is very unique as it is both cosmopolitan and very conservative. I think it has succeeded in influencing me in certain ways which I may not be able to pinpoint but I am certainly aware of. Stories from small towns have in them a unique character,” says Chauhan, who was at the recently concluded Dharamshala International Film Festival (DIFF) held in a physical avatar after two years.

    Talk to the young filmmaker about the interesting and impactful way silence helps the narrative in the movie, and he says that for him films mirror life and life is silent. “It never talks to me. I only see human beings talking to me and at times I wonder why? Are we incapable of communicating without words or just lazy? I see life communicating silently, and subtly. Since ‘Amar Colony’ was about life, Amar meaning eternal/immortal, I wanted to give it a life-like quality. I also feel it has a lot to do with my personality. Films are personal expressions and I do not talk much.”

    Chauhan says that ‘Iceberg Stories’ magnetise him. “They are very simple on the surface but quite complex and profound. They make you think, imagine and wonder at the various possibilities. They are powerful and unforgettable. If you crash into them, you will certainly not remain unharmed.”

    He feels that despite the hype, things have really not changed much for independent filmmakers in the country.

    “I see more and more people summoning up the courage to juggle with this medium and also publicize their work. As a result, there are more number of films which are made, seen or known to the public but I doubt if anything has really opened up for independent filmmakers in India,” adds the filmmaker was drawn to this medium after he saw a scene from ‘Black’ being shot in Shimla.

    Chauhan, who never went to a film school as he was never interested in ‘formal education’, says, “My academic journey has been quite disappointing, so there was no way I could allow the accident to repeat with the love of my life – films. I preferred to teach myself, learn by doing and by watching movies.”

    The filmmaker, who was developing two scripts simultaneously caused him to burn, so he plans to take a break till this year-end. “I want to resume work on my next film from January 2023. It is a murder mystery set in a Himachali village,” he concludes.

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  • Sacha Jafri teams up with Artfi

    Sacha Jafri teams up with Artfi

    Jafri’s artwork routinely sells for millions of dollars. “Journey of Humanity,” recognised by Guinness as the world’s largest art canvas at 1,800 square meters, fetched $62 million at a 2021 auction in Dubai – the third-highest auction price of a living artist’s work ever…reports Asian Lite News

    Collecting art has historically been the privilege of a select few. The elite collector community has traditionally shaped the course of the art market and art history. Now, blockchain has created an opportunity for a game-changing paradigm shift. This shift will allow the decentralisation of traditional practices of art collecting, ownership, and enjoyment.

    One of the top-five highest-selling living artists ever, Sacha Jafri, will team with Artfi to democratise fine art collecting through fractionalised ownership. Aspiring art collectors can soon own a stake in one of Jafri’s highly sought multimillion-dollar artworks, thanks to Artfi’s groundbreaking art investment platform.

    Jafri’s artwork routinely sells for millions of dollars. “Journey of Humanity,” recognised by Guinness as the world’s largest art canvas at 1,800 square meters, fetched $62 million at a 2021 auction in Dubai – the third-highest auction price of a living artist’s work ever.

    Commenting on the association, Sacha Jafri, said, “This collaboration with Artfi allows for a new way forward, combining technology with fine art. The democratisation of art is something I’m really excited about. This can connect my collectors all over the world to the ownership of one of my pieces. And as an artist, that’s a beautiful thing.”

    Asif Kamal, Founder, Artfi, added, “This is the first time top-tier art will be accessible to everyone – the first-time art won’t differentiate between those who can spend a lot and those who can spend a little, For the first time, everyday people will explore, learn, appreciate, and possess incredible, priceless creations firsthand. We’re not selling you the image of the painting, we’re selling you this concept of ownership of a piece of the painting. We’re facilitating buying unique pieces of artwork.

    In conversation with the iconic Sacha Jafri(IANSLIFE)

    Artfi acquires works of art and creates 10,000 NFTs representing ownership of the physical piece. These NFTs include special royalty rights for the original minter. After the initial mint, these NFTs will trade on secondary markets, bringing greater liquidity to the fine art market. This will be the first time that retail investors can own a financial interest in Sacha Jafri’s most valuable paintings and earn royalties for their participation.

    Royalties and Partial sale Opportunities in the fine art world are something never existed in the history of fine art, Artfi brings a unique proposition for artists, sellers, and collectors to give them opportunities to earn Royalties on each NFT transaction and the opportunity to sell 90 per cent of their art and keep 10 per cent lock in their wallet for future upside if they consign their artwork with Artfi.

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  • Dubai Gurudwara Celebrates 553rd birth anniversary of Guru Nanak Devji

    Dubai Gurudwara Celebrates 553rd birth anniversary of Guru Nanak Devji

    The Dubai Gurudwara welcomed over 10,000 devotees during the Gurpurab celebrations on Tuesday. The Birth anniversary celebrations will continue on Friday 11th November at India Social & Cultural Centre, Abu Dhabi from 10am to 2.30 pm followed by packed langar and on Sunday 13th November from 4.30am to 9pm at Guru Nanak Darbar Jebel Ali Dubai

    The 553rd birth anniversary of Guru Nanak Devji, Founder of the Sikh religion and the first of the 10 gurus, was celebrated in the Guru Nanak Darbar, the Sikh temple in Jebel Ali, on Tuesday 8th November 2022.

    The most devout festival in the Sikh calendar, the birth anniversary was observed with special prayers from 4.30 am to 9pm. Langar (meals) was served throughout the day. Eminent raagi jatha Bhai Harjinder Singh Srinagarwale, Veer Manpreet Singh ji and several other popular religious singers, were invited to Dubai especially for the celebrations.

    The Chief Guest at the event was Dr. Aman Puri, Consul General, Consulate General of India, Dubai, Mr. Satnam Singh Sandhu Chancellor, Chandigarh University Ms. Himani Sood, Vice President, Chandigarh University. Special Ardas (prayer) at the Gurudwara on this auspicious occasion was conducted for the rulers of the UAE and Prime Minister of India for good health and prosperity.

    “Respecting the otherness of others is an essential part of tolerance and acceptance of religions,” said Dr. Surender Kandhari. “The UAE’s model of peaceful coexistence is an example for the world. Over 200 nationalities living together is a great example of a perfect, harmonious society. To create awareness amongst the people, the UAE Government has taken many initiatives and laws and it is our duty to follow these rules diligently”

    The Dubai Gurudwara welcomed over 10,000 devotees during the Gurpurab celebrations on Tuesday.       

    The Birth anniversary celebrations will continue on Friday 11th November at India Social & Cultural Centre, Abu Dhabi from 10am to 2.30 pm followed by packed langar and on Sunday 13th November from 4.30am to 9pm at Guru Nanak Darbar Jebel Ali Dubai.

    Dubai Gurudwara Celebrates 553rd birth anniversary of Guru Nanak Devji
    Dubai Gurudwara Celebrates 553rd birth anniversary of Guru Nanak Devji
    Dr. Aman Puri, Consul General, Consulate General of India, Dubai, with Dr. Surender Singh Kandhari
    Dr. Aman Puri, Consul General, Consulate General of India, Dubai, Mr. Satnam Singh Sandhu Chancellor, Chandigarh University Ms. Himani Sood, Vice President, Chandigarh University at the event
    Dr. Aman Puri, Consul General, Consulate General of India, with Dr. Surender Singh Kandhari and Bablu Kandhari
    Dr. Aman Puri, Consul General, Consulate General of India, Duba
    Dubai Gurudwara Celebrates 553rd birth anniversary of Guru Nanak Devji
    Dubai Gurudwara Celebrates 553rd birth anniversary of Guru Nanak Devji
  • Again, Muziris Biennale days for Kochi

    Again, Muziris Biennale days for Kochi

    Carefully and meticulously restored by Lady Halyn’s Trust, this true-blooded legacy lies in an embrace of mystical gardens and stunning backwaters with swaying palms and flowering creepers…reports Asian Lite News

    Appreciate contemporary arts or not, the Kochi Muziris Biennale appeals to all. With its thriving sense of artistic expression that reflects quirky concepts, cultural expression, installations of modern rationale, and even some hard-hitting social messaging, the fifth edition of Kochi Muziris Biennale is all set to take place between December 12, 2022 – April 10, 2023. The festival has been curated by Singapore-based Indian visual artist, Shubhigi Rao.

    The famed international contemporary art exhibition runs for four months on the island of Fort Kochi in Kerala. So, if you are looking to soak into the art and ideas of this backwater paradise close and personal, we offer you a list of properties that will help you to achieve your objective.

    Beach Gate Bungalows, Kochi, Kerala

    Located in the bylanes of Fort Kochi, the center of the Biennale, are two private and exclusive heritage villas on rent, the Beach Gate Bungalows, and CGH Earth. Each of these Bungalows is replete with modern luxuries of a private pool, lush gardens, a fully equipped kitchen with grocery on call, an attentive staff for housekeeping and maintenance, and even a chef on call to whip traditional or popular cuisine. Consisting of 3 bedrooms, a dining room, and a living room each, and the fact that the thriving scene of the Biennale is a few minute’s walks away makes them an ideal choice to stay whether traveling with family or friends.

    https://www.cghearth.com/beach-gate-bungalows

    Discover Kochi from the prism of art.(photo:IANSLIFE)

    Brunton Boatyard, Kochi, Kerala

    No place unravels the unique story of Fort Kochi better than Brunton Boatyard. Always coveted for trade, refuge, and the local spices including the Black Gold, or simply chosen as ‘home’ by many travellers, Fort Kochi is an exotic amalgamation of influences – from the Arabs and east Asia to the Jews, Portuguese, Gujaratis, the Dutch, British Raj and many more. Conveniently located at the famed Fort Kochi harbour, the historic hotel is inspired by the harbor’s story. Be it the colonial architecture and local aesthetics, or the heady blend of many cuisines that is a cultural narrative in itself. Elegant and earthy sea-facing rooms and suites, even the windows next to the charming bathtubs facing the waters) don’t just reflect the city’s strong local character but are also equipped with all modern luxuries. Watching ships and fishing boats go by, Chinese nets in action or gamboling dolphins waft over the waves from the leisure of your rooms and indulging in an adventurous time-travel Kochi episode, a Brunton Boatyard experience of all things Kochi is something few men would want to miss.

    https://www.cghearth.com/brunton-boatyard

    Chittoor Kottaram, Kochi, Kerala

    Earthy Kerala luxuries and elegance mark every inch of this 200-year-old King’s abode, a royal mansion of devotion by the picturesque backwaters. Built by the Rajah of Cochin as a getaway from his routine and to pay homage to the family deity temple close by, Chittoor Kottaram is a destination by itself. Entering the single-key heritage palace with a mystical boat ride through the Kerala waters and one is already transported to a fantastical bygone era.

    Carefully and meticulously restored by Lady Halyn’s Trust, this true-blooded legacy lies in an embrace of mystical gardens and stunning backwaters with swaying palms and flowering creepers. Airy, well-lit, and most aesthetically decorated, 3 bedrooms and living quarters are dotted with wooden windows, a beautiful verandah, and a backyard to sit back, relax and enjoy the most gorgeous greens and waters.

    Enjoy dishes that are Kerala’s best-kept secrets, as carefully planned and personalized to suit tastes and dietary needs, and let Mervin, the traditional karyasthan (royal caretaker) regale with your anecdotes and stories of the Palace. Do keep a day to explore the UNESCO-protected town of Fort Kochi, for its eclectic history and food! History lovers can also visit the Muziris archaeological museum for a dose of the latest findings on the legendary community.

    https://www.cghearth.com/chittoor-kottaram

    Eighth Bastion, Kochi, Kerala: A boutique hotel in charming Fort Kochi

    Step into a chapter of history when you come to Eighth Bastion, in the heart of Fort Cochin. Located on a once-historical Dutch landmark, this hotel conjures up visions of the past and brings alive a time when this Malabar region was a battleground for Europe’s most prominent seafaring nations, who fought over spices and trade routes for 300 years.

    Legend has it that there were seven bastions in Fort Kochi, built by the Portuguese and strengthened by the Dutch East India Company, or the VOC. The bastions defended Cochin for 500 years and CGH Earth’s Eighth Bastion adds to this legacy. Even as you step into our reception area, you see a model of the legendary ‘Batavia’, a reminder of the VOC’s power and their importance in the trade of the region.

    Discover Kochi from the prism of art.(Photo: IANSLIFE)

    The fusion menu at East Indies Restaurant serves progressive cuisine that follows the Dutch Spice Route in South Asia. Dishes from Surat, Sri Lanka, Indonesia, Malabar, and Bengal; wherever the Dutch were present have been included and presented in gourmet style, with a contemporary take on these age-old recipes.

    The architecture and cuisine of Fort Kochi showcase Dutch, Portuguese, and Jewish influences that thrive in beautiful harmony with the local Malabar heritage.

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  • ‘I have never thought of success’

    ‘I have never thought of success’

    Even today when I paint or sculpt or make anything, I enjoy the process like a child, I have no preconceived ideas and thoughts and just carry on doing my art…writes Tanya Banon

    Spanning nearly four decades of his artistic oeuvre, renowned contemporary artist, Paresh Maity, is holding India’s largest solo exhibition to be ever showcased. Infinite Light, in collaboration with the Art Alive gallery, opens at Bikaner House, Delhi, on the 5th of November, before opening in other galleries and cities.

    The artists’ work is going to go on display at a one-of-its-kind curated exhibition spread across Delhi, Mumbai, Calcutta and Bangalore. The exhibition maps Maity’s creations over time, journeys and experiences, aesthetically translated across mediums, including painting, drawing, sculpture, film and installations, as well as via his quiet and lifelong preoccupation with ceramics.

    The Padma Shree awardee talks about his vast repertoire of artworks on display that reflect his journeys across India and the world, across changing moods and seasons.

    Read Excerpts: This is the largest solo exhibition in the country, how does that feel?

    Maity: Yes, touchwood by God’s grace. This was very challenging to put together such a monumental exhibition, but I standing here looking at the scale I’m just so happy to bring all these artworks together under one roof. So, it is very difficult and very challenging, but as I said I’m praying that and we should be alright.

    The exhibit spans four decades of your career, so we can expect a mix of sculptures, art works, water colour and ceramics?

    Maity: It has my drawings, paintings, sculptures and installation, I also make films, so it has a huge variety from my repertoire of work. I have been conceptualising this for a a long time, many years, it’s finally all happening so I’m hoping everything goes well.

    The exhibition is travelling across the country…?

    Maity: Yes, it is in four different venues, from Delhi it will travel to Mumbai, Kolkata and Bangalore, and each new venue has to be put together from scratch, so it is all very exciting. Each venue is unique and has its own challenges, like today we have everything from cranes and pulleys coming to put it together.

    Light plays a vital role in your art, can share us more details?

    Maity: See from my earlier age, I have always wanted and have observed Light very innovatively; for any visual art or any visual thing, light is very important and an essential part of my art. I try to always absorb the colours properly in light like colours in morning light and afternoon light are very different, how evening light affects colour is also very different and that’s why I always paint during the day, never after sunset. In sunlight you can visualize colour very beautifully, if you see even in my drawings the lines, in fact whether its water colours or sculptures, light plays in every form of my art beautifully. That is why that I have titled this exhibition ‘Infinite Light’.

    Do ceramics bring out the playful side in you?

    Maity: See from my early age I started playing with clay and started making clay toys, so the germination of start of ceramics and sculptures started at the early age of 7, and working with ceramics is always so joyful for me. If you see the germination of ceramics basically its clay a different form, first you mould it, then you paint it, then you fire it and then finally glaze it, so basically even with my sculptures they involve heavy weights and it’s fun to visualise something and see it manifest in reality. But with clay and sculptures both once you cast it then it’s very difficult to change it, so one has to be sure of the idea and the method. Ceramics and sculptures are an integral part of my life since my childhood and now an integral part of my art.

    Even today when I paint or sculpt or make anything, I enjoy the process like a child, I have no preconceived ideas and thoughts and just carry on doing my art.

    You are one of the few artists who have been able to partake in your lifetime with such huge success and been able to see it unlike many artists, how does that make you feel?

    Maity: I’ll tell you my success is to see my own piece art take life, that fills me with joy and happiness, I don’t believe in success or failure, because ultimately what we want to get in our lives is joy and happiness, and to share that joy and happiness with the viewer and the people. I have never thought of success, nor do I ever feel that I am successful, if someone likes my artwork and that brings them joy and makes them feel it’s beautiful then that is my success.

    Parents can’t choose a favourite between children, is it like that with your creations or do you have favourites?

    Maity: It is really difficult as you have said so yourself, to ask a mother which child is her favourite, it is like that for me to. If you start from a drawing there is a line, drawing is like ABCD, it is as important as water colours, water colours on their own are very challenging because you cannot rectify a mistake. Sculpture are challenging in a very different way and ceramics go into the fire where you don’t know what’s going to happen inside, it might break, it might crack, so each work is a process of germination and creation, one cannot choose, at least I cannot.

    What are your views on NFT ?

    Maity: I will tell you earlier it was basically all in reels then it became the digital camera, and today it is NFTs. It is a parallel media, may be in time it will make its own place, its own position like a digital camera. One good thing is it helps to reach a segment of people in the society who may not be to convinced with art but they are very involved in digital screen like phones, tablets or laptops, those people who will enjoy such things and create a bigger audience for art.

    I was one of the first few in the country to come out with FDT, but still I fell that art is something tangible so that you can and you can feel it and like the feeling you get when you touch a sculpture, or the texture of ceramics, so I am more into tangible things, but it will have its own place in the coming years.

    As an artist it is very important to have patrons, how important is it for corporates to support the art world ?

    Maity: It’s very important, patrons in earlier days were the king, the state, the priest, the Maharajas and now the time has changed, it is the corporate world, which is very important because they make artworks public for al to enjoy and share in. Like sculptures which are 25 feet, 30 feet with the patronage of corporates these works go into the public domain and that’s how the artists can share their work with everybody.

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  • Maha minister Lodha to attend wife’s book launch at Nehru Centre, London

    Maha minister Lodha to attend wife’s book launch at Nehru Centre, London

    Maharshtra’s minister for Tourism, Skill Development and Entrepreneurship and Woman and Child Development BJP loyalist Mangal Prabhat Lodha – a reputed builder and politician will join his wife Dr Manju Lodha to launch her book ‘’Ankahin Kahaniyan’’ at the Nehru Centre, London at 6.00 pm on 4th November, reports Asian Lite’s Rahul Laud

    Big wigs from trade, industry, government and Indian High Commission offices are expected to attend the launch and rub shoulders with India’s Maharashtra state minister. Director of Nehru Centre, renowned author, writer  come diplomat, First Secretary, Culture  Amish Tripathi is also expected to attend the glamorous launch.  

    Manju Lodha, a writer, poet, and philanthropist is the Chairperson of the Lodha Foundation which is involved in social activities. Author of 11 books , Manju is an orator and is never short of words. She takes care of Lodha Dham – a religious complex. She is the Founder of Gyan Gangitri Kavya Manch, which is the only women’s literary organization for the development of literacy skills for housewives in Mumbai. She is running 3 libraries, which include the world’s largest religious library with over six lac religious books and one ‘Mobile’ library. She has written 11 books in all.

    The book ’Ankahin Kahaniyan’’ pays homage to India’s greatest revolutionaries and freedom fighters and narrates their emotional yet inspiring stories that laid the forefront of India’s freedom and constitution. “It is about all the heroes of our country, be it soldiers, warriors, kings, and sultans, revolutionaries, freedom fighters, politicians who have led the country through very tough times and steered the country towards betterment and who are unsung ,” says Manju.

    “This book is an ode to visionaries that revolutionised India through social, cultural and industrial reforms and an amalgamation of stories that have inspired me in my journey as an author, poet and philanthropist,” Manju added.. From the powerful story of Savitribai Phule that revolutionized the Indian education system, to accounts of General Tatya Tope’s rebellious victories, this book aims to inspire the youth of our nation through tales that are left untold.

    Later minister Lodha will be joined in London by his core tourism team from Maharashtra – Saurabh Vyas IAS, secretary tourism; Dr B N Patil IAS Director, Directorate of Tourism and Dr Dhananjay Sawalkar, Dy Director, Directorate of Tourism Tourism who will pitch to attract tourists and trade at the World Travel Market between 7-9 November  in London.

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  • ‘Art has an emancipatory potential’

    ‘Art has an emancipatory potential’

    Talk to her about how one witnessed several artists making art at different protest sites recently — Shaheen Bagh and the farmer’s agitation, and she sees the same as an act of solidarity…writes Sukant Deepak

    For the past five decades Navjot Altaf has not let her voice be subdued. She shifted her base from Mumbai, and relocated to Bastar during the late 1990s to work with indigenous artists and communities that have borne witness to the enormous scale of deforestation, mining, pollution, and displacement. Through collaborations with artists, activists, workers, and organisations, her projects trace the complex connections between human exploitation and environmental crises that lie at the heart of climate change today.

    Her practice stands at the intersection of art and activism and she is among the leading voices of her generation to regard art as a medium of social change.

    Now, Ishara Art Foundation is presenting ‘Pattern’, the first solo exhibition of the artist in the Arabian Peninsula (September 14 – December 9) curated by Sabih Ahmed and includes work selected from different bodies of work, done from 2014-2015.

    Altaf, whose works have been exhibited in galleries and museums worldwide including at Tate Modern in London maintains her art traces the characteristics of domination and exploitation (which is not a natural phenomenon), unequal relationships, social conditions created by hierarchy, or a specific social order which gives some of us power over the rest.

    “In which for some, other people stand in the relation of de-personalized things to be used without regard to their existence or personality. In the context of climate change, for example, we can clearly see how the fossil fuel economy controlled by a handful of powerful gentries for profit [at any cost], is stifling our future. Environmental destruction too has its origins in hierarchy by exploring hierarchy, in its various forms, we can also see how the systems or patterns created by uneven divides amongst humans; between humans and non-humans have caused environmental crises.”

    Since the early ’90s, Altaf has rarely worked in one medium (“I would say it is multi-media”). Stressing that she finds extremely engaging the process of art making in public places – site-specific, which can create grounds for communication, community engagements, and collaborations. “The politics embedded in these aesthetics is politics of inclusion,” the artist adds.

    Maintaining that her decision to move to Bastar was a conscious one, as she was interested in focusing on the processes of human interaction, social discourses, and listening — as when one intervenes in unfamiliar areas where one is not born and brought up, he/she needs to be sensitive to understand the differences and peculiarities of the place one is in, the context one works in and peoples’ views, artistic expressions, which are relative to their cultural experiences and their emotional and psychological associations with the environment, etc.

    “My research processes and close collaborations with indigenous communities impacted by coal mining and coal-fired power plants in the northern central part of Chhattisgarh sensitized me to the struggle of millions of people there and the world over, fighting for justice against powerful forces who are increasing the ecological vulnerability.

    On the other hand, being amongst community people [in South Bastar] and observing some of the existing practices still relevant to a sustainable way of life, made me more interested in understanding, how can we make the biosphere the focus of concern. How can we develop an ecology-cantered worldview, understand the principles of ecological democracy, and not only acknowledge that we are linked to the planet, but are interdependent.”

    In contemporary times, when ‘making art personal’ seems to have become an integral part of the art ecosystem, she questions if artists can separate themselves from the social world they live in. “Artist’s approach, the political, artistic choices, and decisions that determine his or her aesthetic sensibility… Any kind of practice requires critical analysis. I feel that the culture of critical viewing and reviewing is – on the move and in many ways the art world is coming full circle where the critical artistic position is recognized, and I can see that it is less of a minority position.”

    Talk to her about how one witnessed several artists making art at different protest sites recently — Shaheen Bagh and the farmer’s agitation, and she sees the same as an act of solidarity. Adding that an artist’s daily life is affected by politics, society, and the environment as well, she adds that a number of artists from the earlier generation in India and some others were politically engaged and for some times were associated with progressive political parties during the Freedom movement in the 1940s.

    “The recent collective protests within the current political scenario in India are a critique of defective democracy, right-wing authoritarianism, issues concerning minorities, and the state of refugees and to demand change in the forced implementation of laws. I see it as a signal for the transformation of representative governments in the future. Many people are using the internet, and online strategically. There is a whole debate going on – on 21st-century activism in the world.”

    Talking about self-censorship, Altaf feels art has an emancipatory potential and by withdrawing into that mode (self-censorship), the artist takes a position of no trust – in artistic imagination and commitment to collective actions, for example, to reject authoritarianism and violent attacks on the right to express.”

    Currently researching for two video works, Altaf does not really miss the spotlight that several artists who live in metros constantly enjoy. “My works are shown in India and internationally. I am more interested in how my practice enters into a critical art discourse.”

    For Altaf, collaborating with artists from diverse cultures is exploratory and dynamic, and creates a chance to learn and reflect rather than focus on developing a formula. “Exposures and interaction with people from different cultural backgrounds, areas, or disciplines in urban and rural areas have sensitized me to never underestimate aesthetic sensibilities, lived experiences or knowledge systems of people from any culture, and the collaborators’ sense of the self and agency on the site of production plus how can the process contain openness to being different…” she concludes.

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