The ethereal compositions transport us to an endless and fluid landscape where we are invited to lose ourselves in contemplation…reports Asian Lite News
Art Alive Gallery in the capital is set to present ‘Contours of Continuum’, a solo show exhibiting paintings by Mumbai-based Yashwant Deshmukh from March 15 to April 5. Deshmukh is a contemporary Indian artist known for his contemplative style depicting the lack of movement or the stillness of space.
His abstract and meditative style heavily relies on symbolism and functions as a bridge between the material and the spiritual. At his latest exhibition in Art Alive, the artist invites viewers into a world of otherworldly serenity. In this realm, the boundaries between form and space dissolve, and objects take on a mystical significance as conduits for metaphysical exploration.
The ethereal compositions transport us to an endless and fluid landscape where we are invited to lose ourselves in contemplation.
Through his use of colours, textures, and arrangement, Deshmukh delves into the intricate relationship between memory, perception, and intuition, provoking the viewer to reflect on the very essence of existence. He captures the delicate nuances of life and evokes a commanding presence that impels viewers to immerse themselves in the alluring harmony of ordinary moments.
Everyday objects become the lead actors in a tranquil dance, melding their outlines with the boundless void of negative space. Every stroke of the brush is a meditation, every coat of paint a hushed secret, as Deshmukh unravels the enigma of stillness.
The artist shared: “In my work over the last two decades, I have explored the interrelation between form and space. My visual language constitutes a deeply layered palette composed of objects that are often considered mundane, rendered in speculative forms that capture their visual patterns, ambience and atmosphere. I am excited to show these works in the Capital.”
Premjish Achari, the curator added: “Through his use of colours and intricate textures, Deshmukh infuses his pieces with a palpable sense of energy and vitality. The objects in his paintings seem almost alive, their contours pulsating with movement and emotion. With an impeccable eye for detail, he captures the subtle nuances of everyday life and elevates them to a place of profound significance. It is as if every object holds within it the potential to unravel the mysteries of reality, woven together by the ether itself. Each piece serves as a powerful reminder that even amid the chaos, there exists a serene stillness that can be found by simply pausing and appreciating the world around us.”
For someone who has done theatre, and music, besides a film appreciation course from FTII, Pune, Mumbai-based Krishnamachari feels art learning cannot be just a one-direction journey and it is important to make oneself aware of other creative practices…reports Asian Lite News
Stressing that collaboration should be “our future mantra” and it is paramount to encourage collaborations with museums, cultural institutions, writers and artists across contemporary art, theatre, music, performance and audiences, artist and co-founder of the prestigious Kochi-Muziris Biennale, Bose Krishnamachari opines, “I strongly believe we should have more tailor-made travel scholarships.”
“Besides, higher-level educational scholarships for students should be opened, and 24×7 studios and sites should be made available. Curated programs and exhibitions must be commissioned. These are all important towards creating an accessible, nourishing art ecosystem,” he adds.
Krishnamachari has been ranked 38th on the Global Power 100 list of the most influential people in art by Art Review, an internationally renowned art magazine feels that it is high time that governments start paying more attention to art infrastructure, betterment of museums, exhibition spaces and update the syllabus in art schools.
“Our bureaucracy on all levels must seek advice, outsource and commission the right people. They need to give powers to the learned or the experienced – powers to envision projects, infrastructure and public policy,” he tells.
A pass-out from Sir J. J. School of Art in Mumbai, and a Master of Fine Arts from Goldsmiths’ College, University of London, Bose, who was recently in Saudi Arabia for the AlUla Future Culture Summit, agrees that Middle-Eastern countries are now investing hugely in culture, thus opening up a wide scope for cultural tourism like many countries in Europe.
“I was stunned to see the expanse and extent of culture blooming in the region. One had to see the amazing initiatives to believe. Everywhere in Al Ula, below the sky, the visuals are magical and organic sculpture-scapes in multiple scales. It is one of the best locations to explore more possibilities for a future destination, an intangible and vivacious site in scale. Gio Forma’s designed architecture, 2960 mirror skin absorbing images of surroundings – it was just otherworldly,” he says.
Impressed to see an array of talented and educated young women who studied abroad and returned to their origin, the artist adds, “Absolute enthusiasm and inquisitiveness with positive energy. Signs of women leading the culture scene in Saudi and in the UAE – what a great thing! And let us not forget the Louvre by architect Jean Nouvel and Frank Gehry’s Guggenheim Abu Dhabi will be ready in a few years.”
For someone who has done theatre, and music, besides a film appreciation course from FTII, Pune, Mumbai-based Krishnamachari feels art learning cannot be just a one-direction journey and it is important to make oneself aware of other creative practices.
“This exercise gives you confidence in complementary subjects and frees you from the conventions of schooled thought and forms. A multicultural, multilingual, multi-race, multimedia and ultra-media and secular place is more creative than a mono-discursive site,” he asserts.
In the last one decade, one has witnessed a spate in the number of private museums and art foundations in India with many more coming up. Pleased with the development, the artist feels it is a welcome change, but they too must, like universities, invest in artist support structures.
“Production spaces are the most important – photo processing studios, printmaking studios, woodworking studios, laboratories of material science and experts, metal foundries etc. Present and future universities must transform into universities of culture, aesthetics, design and technology-based laboratory studios. And finance will follow them,” he concludes.
Curated by Manisha Gawade, the show is a collaborative effort of three art galleries including Pioneer Art Gallery, Divine Art Gallery and digitally partnered by Ehsaas and will be held at both the galleries in the Capital from March 8 to 28…reports Asian Lite News
‘Reflections of Womanhood’, an exhibition of paintings, sculptures, photography, installation and printmaking celebrates not only women but also everything feminine from earth to life and to the inception of the universe with Shiva and Shakti. Highlighting the need to remove gender inequalities, the show houses 54 artists, who have narrated tales of courage, love and dedication of countless women on their canvases and sculptures. It also includes two senior dance dancers who will be inaugurating the show.
Three instrumentalists and a troop of kathak dancers will also be present. Curated by Manisha Gawade, the show is a collaborative effort of three art galleries including Pioneer Art Gallery, Divine Art Gallery and digitally partnered by Ehsaas and will be held at both the galleries in the Capital from March 8 to 28.
The list of artists includes F.N. Souza, Krishen Khanna and Ram Kumar, Alka Raghuvanshi, Amargeet Chandok, Ananda Moy Banerji, Anil Gaikwad, Anita Kulkarni, Anjolie Ela Menon, Anki Bhutia, Anu Nayak, Anupam Sud, Arpana Caur, Arup Das, Ashok Bhowmick, Asit Patnayak, Bhaskar Rao, Biman Dasgupta, Durga Kainthola, Gagan Vij, Gogi Saroj Pal, Jogen Chowdhury, Kanchan Chander, Kavita Nayar, Laxman Aelay, Manisha Gawade, N.S. Rana, Nagesh Goud, Niladri Paul, Nupur Kundu, Paresh Maity, Praveen Upadhye, Priyendra Shukla, Prof. Niren Sengupta, Qamar Dagar, Ramesh Gorjala, Rashmi Khurana, Ratan Shah, Rini Dhumal, Shakti Burman, Sangeeta Gupta, Sanjay Bhatacharya, Sarla Chandra, Seema Kohli, Shabir Santosh, Shampa Sircar, Sheela Chamaria, Shobha Broota, Shridhar Iyer, Sonali Durga Chaudhari, Sonika Agarwal, Sudhir Bhagat, Vilas Kulkarni, Vimmi Indra and Vinod Sharma in alphabetical order. The curator of the show and Director of Ehsaas, Manisha Gawade said: “Only a drastic change in our education can lead to economic freedom for women, leading the way to a progressive new tomorrow.
Gender biases cannot pave the way for our generations to come. Ehsaas has always stood for women, artists and weavers. We believe that all the art forms are interdependent. We take pride in staging this wonderful event as a combined amalgamation of the various art forms.”
The exhibition will showcase 13 Thangkas. An expert from Leh will be present to unravel the significance and stories behind these captivating artworks…reports Asian Lite News
The Baro Market’s Affordable Art Show in Mumbai has become an annual exhibition to facilitate buyers to purchase art at affordable prices.
The art showcased isn’t limited only to new and upcoming artists but also the established names.
This year’s show will take place from March 1 to 3 at Method in Juhu, Mumbai. More than 200 paintings have been sourced from established galleries and artists directly from across India.
The art on display, curated by Srila Chatterjee is a mixed bag of several art forms, mediums, genres, and artists. The highlights of this show include ‘Thangka’ art that is native to Ladakh and Sikkim. These artworks have been brought in from Ladakh and emanate the captivating journey into the rich tapestry of Tibetan Buddhist culture and art.
Thangka art is meticulously rendered on cotton or silk appliqué, offering a glimpse into the ancient murals of early Buddhism. Each Thangka, mounted on ornate silk textiles reminiscent of Chinese scroll art, tells a story of Buddha, Buddhist deities, scenes from Buddhist life, or serves as a mandala—a geometric tool for spiritual guidance.
The exhibition will showcase 13 Thangkas. An expert from Leh will be present to unravel the significance and stories behind these captivating artworks.
In addition to Thangka, the Affordable Art show will also sell art by some well-known names including Amit Ambalal, Rekha Rodwittiya, Chandrashekar Koteshwar, KG Subramanyan, Laxma Goud, Nandan Ghiya, Remen Chopra W. Van Der Vaart. , Jehangir Sabavala, Sumedh Rajendran, Suhas Roy, and Schon Mendes.
A segment of the exhibition has been dedicated to the work of Bengal masters and modernists, including artists like Purna Chandra Chakraborthy, Bijan Choudhury, Prokash Karmakar, Isha Mahammad, Rabin Dutta, Shyamal Mukherjee and Chiitrovanu Mazumdar…reports Asian Lite News
Gallery G in Bengaluru is set to hold ‘The Masters & The Modern: An Amalgamation of the Old & New World Classics’ (February 26 to March 31), an exhibition that bridges the historical depth and contemporary vitality of Indian art.
The exhibition is a tribute to the major figures of Indian art such as V.S. Gaitonde, whose abstract canvases are meditation in colour and form; M.F. Husain, whose prolific output has depicted the vibrancy of Indian ethos and mythology; F.N. Souza, renowned for his stark, powerful imagery; and Ganesh Pyne, known for his depiction of romanticism and fantasy.
Also on display will be the works of modern maestros, including Ram Kumar, whose art is a calming journey from city to landscape; Kalal Laxma Goud, whose etchings and paintings bring forth the rawness of rural India with a modernist flair; K.G. Subramanyan, whose artworks are a dialogue between traditional Indian aesthetics and contemporary sensibilities; Badri Narayan, whose storybook-like paintings invite viewers into whimsical worlds; Achuthan Kudallur, whose abstract interpretations explore the confluence of emotion and colour; and Jogen Chowdhury, known for his distinctive style that merges the personal with the universal, marked by an intricate detailing and a deep understanding of the socio-political fabric of India.
A segment of the exhibition has been dedicated to the work of Bengal masters and modernists, including artists like Purna Chandra Chakraborthy, Bijan Choudhury, Prokash Karmakar, Isha Mahammad, Rabin Dutta, Shyamal Mukherjee and Chiitrovanu Mazumdar.
Driven by a desire to revive traditional Indian art forms and themes, these Bengal artists depict mythological and spiritual themes, focusing on the inherent beauty and spirituality of Indian culture.
Their delicate, lyrical style with softer colours stands in stark contrast to the bold colours, dynamic compositions, and experimental techniques adopted by the Bombay Progressives and artists who followed in their footsteps.
Archana Shenoy, curator of the exhibition shares, “This exhibition is a homage to the enduring spirit of Indian art, celebrating its rich history and the continuous evolution that propels it into the future. It is a platform where the timeless works of our masters and the innovative explorations of modern artists converge, offering a narrative that is both reflective and forward-thinking.”
Talking about the upcoming auction, Sunny Chandiramani, Vice President of Client Relations, at AstaGuru Auction House says, “We take great care to curate a collection that traverses decades, presenting the unfolding tapestry of Indian art through the masterpieces of renowned modernists…reports Asian Lite News
AstaGuru’s upcoming ‘Dimensions Defined’ Auction will feature a meticulously curated catalogue of Modern Indian Art, presenting significant works by iconic Indian modernists. Each piece in the auction reflects the diverse and ever-changing artistic landscape in India over the past decades.
The curation offers an eclectic selection of works by eminent artists, including Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, M. F. Husain, S. H. Raza, K. H. Ara, F. N. Souza, Krishen Khanna, Ram Kumar, Jogen Chowdhury, G.R. Santosh, J. Swaminathan, K. Laxma Goud, Thota Vaikuntam, K. K. Hebbar, Bikash Bhattacharjee, Sakti Burman, Akbar Padamsee, B. Vithal, H. A. Gade, Satish Gujral and Manu Parekh amongst others. The selection also includes sculptural masterpieces by eminent artists such as Himmat Shah, Amarnath Sehgal, Dhanraj Bhagat, and Prodosh Dasgupta. The auction is scheduled for February 22-23, 2024.
Talking about the upcoming auction, Sunny Chandiramani, Vice President of Client Relations, at AstaGuru Auction House says, “We take great care to curate a collection that traverses decades, presenting the unfolding tapestry of Indian art through the masterpieces of renowned modernists. This auction offers a distinctive opportunity for art enthusiasts and collectors to procure extraordinary pieces, each narrating a captivating story of creativity and inspiration. The thoughtfully chosen artworks, including those by luminaries of the PAG generation, mirror the diverse and dynamic artistic panorama that has significantly influenced our cultural narrative.”
Adorning the cover of the catalogue is a beautiful work by S H Raza, estimated to be acquired for INR 1,50,00,000 – 2,00,00,000. Executed by S H Raza in 1977, this landscape is a fine example of the artist’s preoccupation with utilising colours as symbols. While his early landscapes, executed during the 1 950s, depicted several figurative elements, as time progressed, they appeared less and were substituted by expressionism. These vibrant bursts of colour were further enhanced by the palette and brushstrokes.
The auction will also offer a rare gem for collectors, a handwritten notebook by legendary artist and Nobel laureate Rabindranath Tagore. The presented lot is a historically significant manuscript that details writings on Poush Sankranti, penned by Rabindranath Tagore in February 1930 at Shantiniketan. It is estimated to be acquired at INR 60,00,000 – 80,00,000.
Another unique inclusion is lot no 115, a large-scale copper plate triptych by M F Husain, estimated to sell at INR 2,00,00,000 – 3,00,00,0000. Since not many such sculptures are known to have been created by Husain, this unique work engraved with intricate design offers a great insight into Husain’s multifaceted artistic approach. Four wood-cut works painted by the artist are also a part of the upcoming auction.
Lot number 28 is a magnificent work by Akbar Padamsee, which he executed during an extremely vital transitional phase of his career. Executed in 1963, the presented work is among the abstracted landscapes that became a formative ground of Padamsee’s famous metascapes work. This lot will be offered with an estimate of INR 3,00,00,000 – 4,00,00,000.
Lot no. 70 is an important creation by artist Jagdish Swaminathan. Through this work, he incorporates a dimension of reality within the realm of his invented abstract world. This lot will be offered with an estimate of INR 2,00,00,000 – 3,00,00,000.
Lot no. 178 is a majestic creation by artist Thota Vaikuntam and captures the scene of a little Krishna gorging on butter in the artist’s signature style motifs and colours. A large-scale creation spanning ten feet, it is estimated to be acquired at INR 80,00,000 – 1,20,00,000.
A work by one of India’s most revered modernists V S Gaintonde will also feature in the upcoming auction. VS Gaitonde’s eventual arrival upon the visual portrayal of the conscience was an elaborate evolutionary journey substantiated by his internal findings. This work, lot no. 83, is estimated to sell at INR 60,00,000 – 80,00,000.
The auction will also showcase several creations in both mediums of paintings and sculptures by artists Krishen Khanna, Himmat Shah, and Manu Parekh.
Lot no 109, a large-scale acrylic on charcoal painting by Krishen Khanna is estimated to sell at INR 25,00,000 – 30,00,000. A sculptural rendition of his preoccupation with the motif of tiger and elephant is showcased in a magnificent piece of lot no 133. This work is estimated to sell at INR 15,00,000 – 20,00,000.
Lot no. 54 is a sculpture by artist Himmat Shah, offered with an estimate of INR 20,00,000 – 25,00,000.
Among several creations by Manu Parekh offered in the upcoming auction, lot no. 131 is a beautiful composition titled ‘Temple Festival at Moonlight.’ A rich and exquisite example of his consistent exploration of the holy city of Benares, this work is offered with an estimate of INR 20,00,000 – 30,00,000.
Lot no. 104, a work by K H Ara is a rare work, an oil on canvas creation from the circa 1940s, and showcases a distinct departure from Ara’s preferred styles of nudes and still life. This lot is estimated to sell at INR 30,00,000 – 40,00,000.
Each artwork in the exhibition portrays different aspects of comparison and its impact on our perception. Through curated daily walkthroughs, visitors will have the opportunity to delve into the artist’s interpretation of the three constructs of comparison: similarity, dissimilarity, and peculiarity…reports Asian Lite News
Visual and Installation artist Raihan Vadra is showcasing an immersive exhibition titled ‘Upamana’ that uses installations, visual art, sound and lighting and explores multiple analogies that human beings face through life. The exhibition will open on January 28 and will be on display till February 4 here at Bikaner House.
‘Upamana’ is part of a series of five solo shows, spread over a decade, based on the five schools of logic in Indian philosophy (five Pramanas). Using concepts derived from the same, the immersive shows use installations, visual art, sound and lighting to explore multiple comparisons and analogies that people face throughout life.
Borrowing from Sanskrit words — upa (similarity) + mana (knowledge), the word describes the act of “Knowledge arising from the association of something previously unknown”. This show builds upon themes such as control choice, compulsion, memory and emotion that were explored during the artist’s previous works – Dark Perception (2021) and Anumana (2022).
Each artwork in the exhibition portrays different aspects of comparison and its impact on our perception. Through curated daily walkthroughs, visitors will have the opportunity to delve into the artist’s interpretation of the three constructs of comparison: similarity, dissimilarity, and peculiarity.
The materials used for the works are metal, resin, fibreglass, naturally sourced trees and roots, photographs printed on archival paper, LED strip lighting and vinyl. A soundtrack is specifically created for the show which will go along with a voiceover that will introduce the viewer to each room, creating a holistic experience.
Raihan Vadra’s artistic vision revolves around the idea of embracing one’s uniqueness without the need for comparison. Through his artworks, he aims to convey the message of unlimited possibilities that arise from being true to oneself and being comfortable in one’s skin.
“Everyone faces comparisons in their daily life, whether it’s in the classroom at an early age, in the workspace, from their family or their friends. The show will explore these comparisons as well as the comparisons we make on other people and ourselves,” says Raihan Vadra.
“The comparisons we make define our reality, why is that and should we allow ourselves and others to be defined by these comparisons? Should we instead be questioning our comparisons and therefore our reality?” asks the artist, adding the exhibition aims to explore these aspects to understand what are we without such comparisons.
Risk Art Initiative (RAl) in Abu Dhabi and Kerala Lalitha Kala Academy sign MoU with Abu Dhabi - Kerala Cultural Exchange. The MoU was signed by Meena Wari, Chief Curator and Creative Director of Risk Art Initiative, and N Balamuraliam, Secretary of Lalitha Kala Academy in the presence of Shafina Yousaf Ali, Founder and Executive Director of Risk Art Initiative, Abu Dhabi, and Murali Cheeroth, Chairman of Lalitha Kala Academy.
Shafina Yusuf Ali, Executive Director of RAI, underscored the organization’s commitment to showcasing Kerala artists globally…reports Asian Lite News
In a significant move to foster cultural exchange and promote artists, the Risk Art Initiative (RAI) based in Abu Dhabi has joined forces with Kerala Lalitha Kala Academy. A Memorandum of Understanding (MoU) was signed by Meena Wari, Chief Curator and Creative Director of RAI, and N Balamurali, Secretary of Lalitha Kala Academy. The ceremony took place in the presence of Shafina Yousaf Ali, Founder and Executive Director of RAI, Abu Dhabi, and Murali Cheeroth, Chairman of Lalitha Kala Academy.
Risk Art Initiative (RAl) in Abu Dhabi and Kerala Lalitha Kala Academy sign MoU with Abu Dhabi – Kerala Cultural Exchange. The MoU was signed by Meena Wari, Chief Curator and Creative Director of Risk Art Initiative, and N Balamuraliam, Secretary of Lalitha Kala Academy in the presence of Shafina Yousaf Ali, Founder and Executive Director of Risk Art Initiative, Abu Dhabi, and Murali Cheeroth, Chairman of Lalitha Kala Academy.
The collaboration aims to exhibit and market artworks by artists associated with Kerala Lalitha Kala Academy in Abu Dhabi, with reciprocal exhibitions featuring Abu Dhabi’s artworks in Kerala. Shafina Yousaf Ali and Murali Cheeroth expressed enthusiasm for the initiative, highlighting the cultural and artistic similarities between Kerala and Arab countries.
Shafina Yusuf Ali, Executive Director of RAI, underscored the organization’s commitment to showcasing Kerala artists globally. The partnership was initiated with the support of the Kerala Lalitha Kala Academy, acknowledging the artistic and cultural resonance between the two regions.
Shafeena Yousaf Ali shared her inspiration for the initiative, citing her experience studying in London and recognizing the absence of world-class artists from India and West Asia. This realization led her to establish RAI, securing collaborations and government support for the upliftment of artists in Kerala and West Asia.
Shafeena Yusuf Ali, founder and executive director of Risk Art Initiative, launches the Abu Dhabi-Kerala Cultural Exchange by releasing a painting by renowned artist Attingal Ramachandran. Lalitha Kala Academy Chairman Murali Cheeroth, Secretary N Balamurali, Risk Art Initiative Chief Curator and Creative Director Meena Wari etc.
As a concrete step towards collaboration, RAI took over 40 artworks from the Lalitha Kala Academy, previously kept for years, and displayed them in Kochi. Plans are underway to exhibit the works of around 10 Kerala artists in Abu Dhabi this year. Additionally, four artists from West Asia will undergo a four-month training program at RAI headquarters in Abu Dhabi.
The Kerala Lalitha Kala Academy, known for its progressive initiatives, expressed its commitment to long-term projects with RAI across various art forms. Chairman Murali Cheeroth highlighted the Academy’s recent collaborations, including exhibitions with the Japan Foundation and the Calcutta Center for Creativity.
In a momentous event on January 8, 2024, RAI and the Academy unveiled a series of collaborative projects encompassing all aspects of art. Notably, Shafeena Yousaf Ali inaugurated the Abu Dhabi-Kerala initiative by showcasing the works of acclaimed artist Attingal Ramachandran. RAI also presented fellowships of Rs.2 lakhs each to Kerala artists Mibin Bhaskar and Mohammad Yasir, emphasizing their commitment to supporting and promoting local talent.
Shafeena Yousaf Ali, a business leader based in Abu Dhabi, holds an MBA from Oxford University and a Master of Arts degree from Cambridge University. Currently pursuing a Ph.D. in artistry, her vision for cultural exchange and artist empowerment is poised to make a lasting impact on the global art scene.
Involving both senior and young artists, the curator has always been interested in the choreography of work, thinking first about the work and then the artists…writes Sukant Deepak
One of her biggest achievements is being invisible. Her presence in her absence suspends the entire work in the Visual Arts section in an inhibited space. There is a centre, but artworks are allowed to move freely, decide on their spaces, and find their own destiny. A certain freedom never leaves the delicate thread that touches everything that has been created. Long after you have seen/unseen all the artworks, a realization of their togetherness erupts – not with force but with quiet camaraderie.
‘Turning: On Field and Work’, curated by Vidya Shivadas, author and curator of the Visual Arts section (along with Veeranganakumari Solanki) at the recently concluded Serendipity Arts Festival in Goa brought together around 18 artists and institutions including Niroj Satpathy, Amol Patil, Benitha Perciyal, besides collectives like Panjeri Artists’ Union and Britto Arts Trust from Bangladesh.
During the Covid pandemic, Shivadas, also the Director of the Foundation of Indian Contemporary Art (FICA) created a reading forum to associate with artists who are working with agriculture/farming. “They were interested in questions of indigenous farming and the lack of value and different concerns as well. This got me thinking, how does one think of farming and philosophize about it? How do we talk about the environment and other urgent questions?”
This had been growing in her mind for a long time. The curator notes that though artists for a long time now had been spending extensive energy on research, were not bringing this (research) aspect to the foreground. The same holds for archives as well. “Many artists’ work encountered at Serendipity are embedded in materials and come from deep-rooted knowledge. Now, interestingly, two people do not experience the same place in the same way, and neither do not follow the same methodology. Thus what emerges is something truly enigmatic,” notes Shivadas.
Stressing that as a curator, she is pleased that the exhibition managed to move people at different levels as a whole and not just through the prism of single objects. “People could feel the connections. There is an interest in transformation, and witnessing a relationship being formed with everything around — the want of being related to something. All the projects, in the most artistic of ways brought forth points of connection. Multiple themes came together and also stood out. I am glad the festival could support around seven major projects and several new projects also saw light of the day.”
Involving both senior and young artists, the curator has always been interested in the choreography of work, thinking first about the work and then the artists. “One whole wing looked at work and the materials that are around us: Bricks, seeds — their qualities. The other one was about archives and collectives rising while the third dealt with displacement.”
Talking about FICA (Roshini and Parul Vadehra are the trustees), which gives grants to artists and is involved in art education, the curator says, “The artist community is not that very well supported and that is where we come in to create bridges. There is also a library, which can be transformed into a space for talks and interactions. There is a project space where inhabit it. The idea is also to think about how artists are creating.”
Observing that a lot of young artists are curating themselves, she smiles, “ Maybe artists are more resourceful than the curatorial community. Interestingly, I see a whole generation of new writers (art writing), that is emerging,” she concludes.
The Chairman of Hero Enterprises, admits that it has been an intentional move not to brand his company at SAF…writes Sukant Deepak
While stressing that not just corporates, but everyone has a responsibility towards the arts, Sunil Kant Munjal, the Founder Patron of Serendipity Arts Festival (SAF), held annually in Goa feels that though the government has an important role in promotion of the arts, it is high time corporates came forward to play theirs.
“Considering they have a larger responsibility in society, thus their roles towards the arts, too, becomes increased,” he tells IANS during the recently concluded SAF.
Talk to him about deciding on a non-metro destination for the festival, and he is clear that the effort was not to ‘move away’ from anywhere, in fact, Goa was chosen owing to its unique micro-culture.
“People from across the country have moved and settled here. Not to mention, our partnership with the Goa government has been excellent. If you have noticed, most of the venues are heritage buildings.”
Even as getting a hotel room in Panjim becomes a struggle during the festival days, the patron smiles, “Yes, the festival has helped the local economy, bringing in tourism. The general population sees the festival as their own which is an achievement.”
The Chairman of Hero Enterprises, admits that it has been an intentional move not to brand his company at SAF.
“It is deliberate as we do not want to turn this into a corporate programme.”
“SAF is held with the sole aim of promoting the arts and the access to art. If we start branding our company, it takes away many things from the festival. We have invited other corporates to come. Our message is clear — arts need patronage.”
Mahindra, which holds several festivals across the country at different times including the popular ‘Kabira Festival’, ‘Santatkada Festival’, ‘Blues Festival’, ‘Roots Festival’, ‘Percussion Festival’, and ‘Excellence in Theatre Awards’, and just prefixes ‘Mahindra’ before each one, ensures that the brand’s products are not promoted in any way at these popular festivals.
Jay Shah, Vice-President — Cultural Outreach of the brand, stresses the return to the brand in terms of value is when people recognise that they have been subtle.
“And that comes back in many ways. Frankly, with all these festivals, we want the audience to focus only on art and culture and do not want the festival to be lost just because we want brand exposure. I firmly believe that if we start exposing our brands here, the same will bring a negative value,” he says.
About how these festivals, many held in non-metro cities, are accelerating the growth of the local economy, Shah cites, “As soon as we put out the announcement for the ‘Kabira Festival’, our partner hotels sold out in minutes. Many other hotels witnessed a huge rush in bookings. And it is not just to do with the economy. We also do a lot of community outreach and hold workshops with children. Schools also come and perform. There are always some local names.”
Shah feels it is important to look beyond metros but each destination is not a draw of lot.
Stressing that locations are decided strategically, he cites an example, “Realising that we did not have a festival in the South, Bangalore became a destination. Also, to cater to Generation Z, Mahindra got into rock and percussion.”
For someone like Sanjoy Roy, Managing Director of Teamwork Arts, which produces more than 25 performing arts, visual arts, and literary festivals across 40 cities, including the famed Jaipur Literature Festival (JLF), the effort is to create more opportunities and create value for heritage and local economy.
Believing that metros are not festival cities, Roy who is set to start festivals in Madurai, Hampi, and Bengal now says, “Take the example of Varanasi, where we produce the ‘Mahindra Kabira Festival’. It is a festival city which has heritage and history. In such cities, people quickly ‘adopt’ the festival as their own, and the latter keeps reinventing itself, which is very interesting. The effort is to ensure that we work with the locals and bring people who otherwise won’t have a platform.”
Currently writing a book on his experiences with the supernatural — from Kolkata to Jerusalem, he says that while they look at the government for permissions, etc, more corporates must start supporting the arts.
“They can use it to build trust and also give back. Over the past few decades, there has been a definite increase in the number of corporates backing art festivals. We just hope that the graph keeps going up,” he concludes.
