The painting bear Ompal’s trademark style — with the long, sinuous tree roots and the dense foliage merging to give shape to the stories he tells — whether of gods and goddesses, or from Indian mythology, or just take on human-like forms as they clasp each other in an embrace, or even dance…writes Sukant Deepak
Trees take on myriad forms — Krishna holds aloft the Govardhan hill, Christ’s Last Supper and Shiva as Nataraja, for instance — at National Award-winning artist Ompal Sansanwal’s solo exhibition of 60 paintings that opens in the national capital on Friday.
The exhibition, titled ‘Jiva’, showcases Sansanwal’s intricately crafted paintings of trees that he has worked on for the past 15 years. The paintings comprise mostly acrylic and pen and ink on canvas or watercolours and pen and ink on canvas.
Curated by Uma Nair, the week-long exhibition opens on April 27, and continues till May 3, at Bikaner House. ‘Jiva’ is being hosted by Black Cube Gallery, which marks its debut at Bikaner House with Sansanwal’s collection of paintings. For the artist, it will be his first solo outing after a hiatus of 15 years.
The painting bear Ompal’s trademark style — with the long, sinuous tree roots and the dense foliage merging to give shape to the stories he tells — whether of gods and goddesses, or from Indian mythology, or just take on human-like forms as they clasp each other in an embrace, or even dance.
“When I draw the trees, they come out in a meditative form,” Sansanwal said. “As I begin drawing, I have no idea what form the painting will take. It just takes shape on its own. I am unconscious of what I am doing, and always get too absorbed in the work.
Referring to his painting of Rabindranath Tagore, he says: “Like Tagore gave enlightenment to the world, the tree too is giving enlightenment to the world from eons ago.”
Trees have fascinated Sansanwal from his childhood and he would spend hours gazing at the peepul, banyan, mango, guava and jamun trees in the ‘baghichi’, or garden, behind his house in south Delhi’s Mehrauli neighbourhood. And as he gazed at them, the trees would take on the shape of humans and he would try to look for the eyes and mouth.
“In my trees you will find faces, human figures. I have not copied any tree; these shapes come from within me,” Sansanwal adds.
Sansanwal’s works have been featured in several solo exhibitions previously, including at the Museum Gallery, Mumbai, and the LTG Gallery and Shridharani Gallery, New Delhi, and in group shows held at the Nehru Centre in London and in the former Yugoslavia.
Elaborating on his style, Uma Nair, the curator, said, “As an artist, Sansanwal is a pilgrim who walks miles to find trees of his own sensibility and sensitivity. When you look at his works you sense a deep spiritual aura that fulfils him. His prowess for branching threaded twigs and leaves and berries and birds all become a rhythm.”
Born in 1964, Ompal received the National Award in 2002. The Rajasthan Lalit Kala Academy had also feted him back in 1991.
‘Jiva’ will be inaugurated by Ratish Nanda, leading Indian conservation architect and CEO of the Aga Khan Trust for Culture (AKTC). He will also launch Sansanwal’s book titled ‘Meditations on Trees’.
The exhibition is on view from April 19 – September 29, 2024. To welcome the new exhibition, pay-as-you-wish Friday evenings will expand from 5–8 pm and include live vintage music and speciality “lost” cocktails during the spring and summer months…reports Asian Lite News
This spring, the New York Historical Society debuts Lost New York, a new exhibition exploring the places that once defined New York City. The exhibition invites visitors to experience the city’s lost landmarks, such as the original Penn Station, Croton Reservoir, Chinese Theater, and river bathhouses.
Throughout the exhibition, community voices bring these lost sites to life: a woman recalls attending the Old Met Opera House in 1939, a Broadway carpenter reminisces about a photograph of his father in front of the Hippodrome Theatre, and a choir director reflects upon the demolished Harlem Renaissance monument Lift Every Voice and Sing.
Curated by Wendy Nālani E. Ikemoto, vice president and chief curator of New York Historical, Lost New York showcases treasures from the Museum and Patricia D. Klingenstein Library collections and captures both the dynamism of an ever-changing city and the importance of preserving pieces of our otherwise vanishing past.
The exhibition is on view from April 19 – September 29, 2024. To welcome the new exhibition, pay-as-you-wish Friday evenings will expand from 5–8 pm and include live vintage music and speciality “lost” cocktails during the spring and summer months.
“Lost New York invites visitors to wander through the echoes of a city unfamiliar to what they know now,” said Dr. Louise Mirrer, president and CEO of New York Historical. “We’re excited to welcome visitors throughout the run of the exhibition and especially on Friday nights when the galleries will be filled with vibrant music, nostalgia, and good cheer.”
“Lost New York delves into the many and deep layers of this city. I hope visitors will delight in discovering the landmarks that once defined the places they know but also consider the serious issues, like gentrification and environmental devastation, that drove their loss and reflect upon the importance of preserving our past,” said Dr. Wendy Nālani E. Ikemoto. “It has been an honor to connect with members of our community and learn about their experiences with these lost places. Their voices enliven and personalize the exhibition and sustain the memory and meaning of these sites.”
Exhibition Highlights
Comprising more than 90 paintings, photographs, objects, and lithographs, the exhibition offers captivating glimpses into the city’s rich architectural heritage and vibrant past. Featured is Jules Crow’s vivid depiction of the Pennsylvania Station Interior in 1906, a masterful watercolour capturing the grandeur of the original Beaux-Arts masterpiece designed by McKim, Mead, and White. Opened in 1910, the building stood for only 54 years. Its demolition spurred the creation of the New York City Landmarks Preservation Commission two years later.
François Courtin’s lithograph is capturing another bygone structure displaying the grandeur of New York’s Crystal Palace during the 1853 Exhibition of the Industry of All Nations. Rising majestically in what is now Bryant Park, this architectural marvel once hosted technological wonders from across the globe, offering a glimpse into an era of innovation and boundless imagination. Steps away was the original Croton Reservoir, built to increase the city’s water supply, as depicted in an 1850 lithograph by Charles Autenrieth. Its massive Egyptian-style walls became a popular promenade spot for New Yorkers. Parts of the original stone structure can still be seen on the lower level of the New York Public Library on 42nd Street, which rose in its place.
While sign painter De La Prelette Wriley shows off his own business in the 1837 oil on wood panel, No. 7 1/2 Bowery, the painting features another antiquated hallmark of early New York—a pig roaming the streets. A low-maintenance and high-protein food staple, pigs wandered freely through the city until 1859, serving as New York’s first garbage management system by eating scraps off the streets. Showcasing another common animal of the city’s early streets, William Seaman’s 1850 oil painting Knickerbocker Stage Line Omnibus depicts New York’s first form of mass transit: large horse-drawn stagecoaches that carried about a dozen people at a time and ran along designated routes.
Complementing many of the works on display are observations from various New Yorkers sharing their memories of the places depicted. These community voices include an artist who, as an LGBTQ+ youth and aspiring artist, purchased a t-shirt from Keith Haring’s Pop Shop; a woman from a self-described multigenerational family Yankee “fandom” who remembers watching David Wells and David Cone pitch perfect games at the old Yankee Stadium; and a cultural worker who imagines the cross-cultural conversation that led Samuel Northcote to mistitle New York City’s first Chinese-language theater in his 1899 painting of it.
Programming Starting on May 3 and continuing every Friday through early summer, pay-as-you-wish Friday nights expand, beginning at 5 pm and lasting until 8 pm. Visitors can enjoy a live band playing classic jazz and American standards and a bar featuring classic and forgotten NYC cocktails.
On May 20, New York Times writer Brent Staples reveals the extraordinary story of Elizabeth Gloucester, who was born into slavery; as a free woman became a well-connected champion of the anti-slavery movement in the city; and owned property in Seneca Village, the Black community (featured in Lost New York) whose land New York City seized to make way for Central Park. Tickets for Elizabeth Gloucester: The Lost Story of New York’s Most Powerful Black Woman are available online. Private group tours can also be arranged throughout the exhibition.
Exhibition-themed story times will also take place on weekends for young visitors. On April 28, families can learn more about Seneca Village, the day-to-day lives of landowning Black New Yorkers, and the diverse group of people they rent to. For additional details, visit the family programs calendar.
Anushree Rabadia completed her BVA in Painting from the Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara, and is currently pursuing her MVA in Painting from MSU Baroda…reports Asian Lite News
Voices of Women presented by Art Garde is a contemporary art exhibition under the Young Collectors’ Pop Up umbrella initially launched in 2022. This exhibition showcases works by emerging and middle-contemporary women artists from across the country. The exhibition highlights the flourishing practices of women artists across mediums. While equal representation between men and women artists is still not a reality, there is a steady increase in exhibitions and platforms like this one that seek to address this disparity. In 2023 the Art Basel and YBS Survey of Global Collecting drew attention to the fact that women collectors are now collecting more than men, and many of them focus on this disparity and address it by actively collecting women artists exclusively.
Through a showcase of diverse mediums, styles and experiences, the show eliminates stereotypes associated with women artists. This curation intends to move away from stereotypes that are often limiting the expansion of women in fine arts today. A similar approach has been taken when also curating the subject matter represented. For instance in art universities across the country, the female nude is still not taught in live drawing classes. Historically, specifically within the South Asian context women have been associated more with handicrafts, as opposed to fine arts. However, the adaptability of women when they engage with fine arts offers a unique glimpse at the intersection between physicality and painting. This exhibition does not intend to purport that women are intended to belong to a certain style of art. It provides a stage for women engaging in traditional and non-traditional, expected and unexpected. It is a curation of contemporary women artists across the spectrum today.
A common theme amongst the works displayed is how each woman responds to contemporary stimuli that impact that in a personal or general societal way while respecting diversity. The exhibition will take place from 9-15 April at A2/22 Safdarjung Enclave, New Delhi.
Participating Artists:
Malavika Rajnarayan studied painting at the College of Fine Arts, Karnataka Chitrakala Parishath and at the Faculty of Fine Arts, M.S. University of Baroda. Alongside her studio practice, she works as an arts resource person with the Azim Premji Foundation. Her works have been exhibited across India and abroad, most recently in the Seattle Art Museum in 2022. She has been an artist-in-residence at The Collective Studio Baroda; The Contemporary Artists Centre, Troy, New York: at CAMAC Centre for Art in Marnay sur-Seine, France, and a collective residency as a member of Surfatial at ZK/U, Berlin. She was the recipient of the Nasreen Mohammedi scholarship for post-graduate study in 2005. Malavika’s paintings use the human figure to create narratives that are infused with a feminine sensibility. Her background in Indian classical music as well as her interest in the progression of Indian and Asian knowledge traditions form the basis of her inquiries. Her visual language is informed by miniature painting traditions, where the poignancy of ideas are conveyed through beauty, grace and poetry.
Tanushree Sarkar is an acclaimed and award-winning art director of films like Parineeta, Laaga Chunari Mein Daag, and Eklavya. As a kid, she had always been interested in painting and fine arts. She started her career at Ogilvy & Mather, a media company. After spending about four years and being a cinema enthusiast. she joined a newly opened production house. As her career progressed, she felt that her art was left behind. So after Gabbar, she decided not to do films anymore and dedicate more time to her art. She participated in the Indian Art Fair, at Nehru Centre. Her work is heavily inspired by Indian history and culture.
Anushree Rabadia completed her BVA in Painting from the Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara, and is currently pursuing her MVA in Painting from MSU Baroda. She was awarded the Jeram Patel Award, Faculty of Fine Arts, The Maharaja Sayajirao University, Vadodara, 2020-2021. Anushree’s works are conceptually derived from her environment, nature, and the necessities of daily existence. She manipulates the materials according to the feel of the subject to communicate these observations. She uses pattern, flow, texture, rhythm, softness, sensitivity, and an interest in optical illusion to portray the intensity of her artwork, which enables her to produce 2- dimensional pieces on a mount board. She draws inspiration from India’s rich textile history for her own creative interpretations. Anushree lives and works in Vadodara, Gujarat, India.
Ekta Singha pursued a Bachelor’s degree in Visual Arts in Painting from the Government College of Art & Craft, Kolkata, India, She graduated with an MVA in Painting Faculty of Fine Arts, MSU, Baroda, Gujarat, India. Ekta captivates audiences with her ingenious blend of mediums and materials. Drawing inspiration from Mughal, Persian, and Rajput miniature painting traditions, Ekta has crafted a unique artistic identity. Influenced by her roots in Bangladesh, memories of her ancestral home infuse her work with depth and resonance. Ekta’s art reflects an intriguing fusion of two distinct traditions: miniature painting and Pata scroll paintings. While the former lends intricate visual elements to her work, the latter allows for expansive storytelling, imbuing her art with a sense of dynamic movement. Through her evocative use of materials and forms, Ekta Singha invites audiences on a journey of discovery through her captivating creations.
Maitreyi Desai, born in Valsad, Gujarat, Maitreyi Desai pursued her Bachelor’s degree of Visual Arts in Painting and Master’s degree of Visual Arts in Print-making from the M.S. University, Baroda. Maitreyi’s artworks feel ageless, like the bark of that hundred year old tree; and yet it is also deeply personal, ethereal in its delicacy. Through these interconnections with nature, she wishes to assert her own identity; an identity synonymous with rootness, and groundedness, to a home, a family, and if we can expand our consciousness, to nature. These are the layered metaphors in her work. The intricacies in her artworks are not just aesthetic representations of nature but also emotive, the essence of what it means to make a home, layer by layer, line by line is seen here. Maitreyi is currently based in Vadodara, Gujarat.
Neha Luthra was born in India and raised in Warsaw, Poland. She obtained her BA in Art History and Management from the University of St Andrews, Scotland, and an associate degree in Surface Pattern/Textile Design from the Fashion Institute of Technology, New York. Neha studied painting under the mentorship of Despina Sevasti in Athens, Greece, and is currently part of The Royal Drawing School’s 2024 cohort for their Drawing Development Year. Her current art practice draws on her own photography and life experiences as subject matter. She resides between Warsaw & Jaipur.
Sareena Khemka is a talented visual artist known for her work in mixed media, particularly drawing, painting, and sculptural installations. She has a strong focus on exploring urban landscapes, often weaving together narratives of the past and future of cities. Sareena holds a Bachelor of Fine Arts in painting from The School of the Art Institute of Chicago and Kala Bhavan, Santiniketan, India. Throughout her career, Sareena has participated in numerous exhibitions, showcasing her artwork in galleries and art spaces across India and internationally. Some of her notable exhibitions include ‘Future Foundations, ‘Walk-in Studio,’ and ‘Build & Grow. She has also been a resident artist at esteemed institutions such as Space 118 and The Piramal Art Foundation in Mumbai. In addition to her artistic practice, Sareena is passionate about art education and has conducted workshops with various organizations, including The Kiran Nader Museum of Art, Art 1st Foundation, and the Mohile Parikh Center Mumba. Sareena Khemka currently resides and works in Bangalore, where she continues to create thought-provoking and visually captivating artwork, pushing the boundaries of her artistic expression.
Astha Patel is a visual artist based in Vadodara, Gujarat. She draws inspiration from topics related to nature ecology and memory. Her practice primarily involves oil on canvas works, and tempera, gouache and watercolour on paper. She completed her Master’s in Visual from the Faculty of Fine Arts at the Maharaja Sayajirao University of Baroda, Vadodara in 2022. She received her Bachelor’s Degree from the same institution. In 2017 she received an ERASMUS Scholarship and completed a semester at The Universidad de Politecnica de Valencia, Spain 2017. In 2019 a collaborative project that she worked on with Pranshu Thakore, Rahi De Roy, and Savitha Ravi was displayed by the Tate Collective. She has also been a part of Residency Programmes at Space Studio Summer Residency, Vadodara 2021, as well as the Students’ Biennale at the Kochi Muziris Biennale. In 2023 she collaborated with the Mumbai-based luxury apparel brand, Aroka.
Vijaya Chauhan received her postgraduate in sculpture from Indirakala Sangeet University, Khairagarh, Chhattisgarh (2011). She was awarded ‘Kalasankranti Puraskar National Award. Vijaya’s practice is inspired by her experiences with learning braille, her works often include encoded messages in the same. Each work invites the viewer to engage both visually and through its tactile nature. She currently lives and works between New Delhi and Vadodara with her husband and son.
Tarini Sethi is a New Delhi-based artist. Tarini holds a BA in Political Science from Lady Shri Ram College, New Delhi, and a BFA in Drawing from Pratt Institute, New York. Her artistic practice explores themes like human intimacy, body consciousness, and sexuality, and draws from folklore and mythology through a multimedia practice that includes paintings, drawings, and metal sculptures. Sethi has been featured in Architectural Digest India and many other Indian publications and has been a part of design shows like the Mumbai Urban Arts Festival, as well as solo exhibitions at the IIC Gallery and Chemould Colab. As a woman from India, existing in a space of extreme sexual oppression and constant scrutiny, she tries to focus as much as possible on the idea that bodies can exist as perfect vessels for exploration, action and sexual emancipation. In the world she creates, bodies are freed from the ideas attached to the conventional notion of gender, perfection and beauty. She is the Founder and Curator of The Irregulars Art Fair and has exhibited across the world.
The India Art Fair also serves as a platform for unveiling the school’s artistic collaborations with French-Cameroonian visual artist Barthélémy Toguo and French contemporary artist Eva Jospin, underscoring their collective vision that celebrates the confluence of art and craft to create a new language across interdisciplinary mediums…reports Asian Lite News
Karishma Swali and the Chanakya School of Craft present ‘Belong’ at the India Art Fair in New Delhi from February 1st to 4th, 2024, located in a dedicated area at the heart of the fair at booth I01.
Derived from the transformative power of nature, belong is a spontaneous immersion into the eternal connection between the human form and the natural world. From this exchange, emerges a fantastical universe, where the interconnectedness between all beings, their inherent nature, and the ecosystems they inhabit come to the fore. Through an interdisciplinary approach, the interconnectedness unfolds, uniting both real and metaphysical worlds. Rendered with a familiarity that transcends space and time, the central figures seamlessly integrate into the landscape, embodying a sense of profound belonging. In doing so, belong prompts contemplation on this eternal connection, reaching into the realms of collective consciousness and an almost unreachable memory. The series features large scale, interdisciplinary handcrafted works and sculptures conceived by Karishma Swali and meticulously handcrafted by the female graduates of Chanakya School of Craft, alongside the master artisans of the Chanakya ateliers.
The intricate interplay of hand-spun yarns and layering techniques, along with micro variations of needlepoint techniques, including couching, bullion knots and the stem stitch, bring to life a layered narrative that honours craft and its role in culture, community and preserving our collective identities. The exhibition also features hand moulded sculptures created with bamboo terracotta and basket weaving techniques, serving as a tribute to the resilient and unyielding spirit of the feminine.
“Belong is a tribute to the spirit – common to us all, the wonder of nature and the interconnectedness of all life forms. Through this presentation, our endeavour is to honour the profound role craft plays in preserving our collective heritage and nurturing communities.” says Karishma Swali, Creative Director of Chanakya School of Craft.
The India Art Fair also serves as a platform for unveiling the school’s artistic collaborations with French-Cameroonian visual artist Barthélémy Toguo and French contemporary artist Eva Jospin, underscoring their collective vision that celebrates the confluence of art and craft to create a new language across interdisciplinary mediums.
The French Institute in India — as part of the launch of its Villa Swagatam residency programme, which encourages exchanges between French artists and Indian craftspeople — the Basu Foundation and Galerie Lelong & Co. Paris New York will be unveiling the installation ‘Water Matters’, the fruit of an original collaboration between the Franco-Cameroonian artist Barthélémy Toguo, Creative Director Karishma Swali and the artisans of non-profit school and foundation, the Chanakya School of Craft, based in Mumbai. Presented at the Villa Swagatam booth L02, this installation will reflect a unique dialogue, combining contemporary artistic practice with a wealth of ancestral knowledge. A 5-metre-long embroidery representing a man receiving and offering water will be presented in front of a table with a hundred of engraved bottles filled with water from all over the world. Two other embroideries representing different animals will frame this installation. The interdisciplinary crafted works involve the use of raw organic threads and fine needle techniques. Hand-embroidery techniques such as stem stitch, back stitch, and micro-French knots are employed to achieve an ink spread similar to that found in the paintings.
“In India, craft occupies an honoured space, proving to be more unifying in human relationships than even spoken language. Through our artistic collaborations, we aspire to acknowledge the significance of celebrating communities and their material cultures, highlighting the integral role craftsmanship plays in conveying our traditional heritage and our collective identities,” adds Karishma Swali.
Over the few years, the Chanakya School of Craft has collaborated with renowned French artist Eva Jospin, known for her mystical cardboard sculptures that intricately detail sections of forests in bas-relief. The resulting works portray captivating landscapes with architectural structures, forests, boulders, lianas, and waterfalls.
The graduates from Chanakya School of Craft dedicated months to bring these intricate landscapes to life, employing over 150 variations of embroidery and utilizing more than 400 shades of organic silk, linen, cotton, and jute threads. Three works from this artistic collaboration will be presented at the Galleria Continua booth E04, while two unique creations will be presented at the Chanakya School of Craft booth. This presentation not only exemplifies their enduring artistic partnership but also underscores their shared commitment to celebrating craftsmanship across diverse interdisciplinary mediums.
The curatorial challenge of bringing together these priceless artefacts from all across India was made possible through close collaboration with all partners and meticulous logistical planning…reports Asian Lite News
Spouses of G20 leaders participating in the New Delhi Summit will inaugurate an exhibition dedicated to India’s civilisation prowess and artistic excellence, titled ‘Roots and Routes: Past Present and Continuous’ on September 9 in the National Gallery of Modern Art, said official sources.
Sources also added that a 45-minute tour will be provided to spouses of leaders participating in G20.
“The Exhibition ‘Roots and Routes’ explores India’s civilizational heritage, ethos and its inter-connectedness. The exhibition traces cultural marvels through Indian sagas based on archaeological artefacts, literature, numismatics, epigraphy, and paintings. The woven narrative is truly diverse and rich,” the Culture Ministry said in a statement.
The exposition engages G20 priorities, the essential tenets of ‘Vasudhaiva Kutumbakam’, the core values of which are supremely universal. The chosen themes reflect that ethos – respect for nature and environment, democratic spirit, gender equality, education, et al. The G20 country connect unravels too as part of shared global traditions.
Subjects like Shringar, Sangeet and Prakriti are transnational are taken to portray the legacy of the Indian story. How Indian literature and art mirror each other completes the experience.
“The ‘Routes’, the outreach, through different mediums – language, philosophy, religion, literature, sculpture and paintings; the overland and maritime routes have been curated after diligent research,” the Ministry mentioned.
It is not usual for India’s great antiquity to come together in such quantity and in such great diversity. The selection of artefacts was carefully undertaken with a focus on historical significance, artistic merit and thematic relevance.
The curatorial challenge of bringing together these priceless artefacts from all across India was made possible through close collaboration with all partners and meticulous logistical planning.
The partnering institutions are Indian Museum, Kolkata, Government Museum, Chennai, Government Museum, Chandigarh, Asiatic Society, Kolkata, Government Museum, Mathura, National Museum, New Delhi, National Gallery of Modern Art, National Library, Kolkata, Site Museums of ASI: Sarnath, Nalanda, Nagarjunakonda and Sanchi and Indira Gandhi National Center for Arts, New Delhi.
It stands to the credit of these institutions that a splendid and rare assemblage of Indian sculpture of the Amravati friezes, the Gandhara and Mathura art pieces, Chola Bronzes, manuscripts and paintings could be brought together for this exhibition. The continuous dialogue between ‘Roots and Routes takes centre stage in this exhibition, presenting voices, thoughts, and relatable stories. (ANI)
Gallery Threshold was established in 1997 when Tunty Chauhan, through friendships with artists V. Ramesh, Ravindar Reddy, and Lama Goud, to name a few, began exhibiting the works of upcoming artists in Visakhapatnam…reports Asian Lite News
In an exhibition curated to commemorate its 25th anniversary, Gallery Threshold is organising ‘Reflecting the Self’ at Bikaner House from August 18 to 28 which will bring together the works of 35 multi-generational artists who have had an ongoing reciprocal relationship with the gallery.
The theme of self-portraiture unites the diversity of artists’ practices supported by the gallery. Comprising paintings, sculptures, installations, photography, and mixed media, the works delve deep into the narratives and vignettes from their own life stories.
The exhibition fulfils two objectives: To visit the idea of self-representation and to celebrate the strong bonds forged between the gallery and the artists, acknowledging their artistic excellence and the lasting impact they have made within the art community.
The curators — Tunty Chauhan and Deeksha Nath — embrace a broader understanding of self-representation that encompasses figurative and abstract works, as well as alliterative and metaphorical approaches. Self-portraits can contain deeply personal and introspective elements, as well as convey political and cultural significance or evoke personal empowerment.
They serve as a means for artists to connect with others, fostering empathy and sparking conversations about the intricate nature of the self. The process of creating self-portraits holds profound significance for the artists themselves and for those who engage with their artwork in the exhibition.
Gallery Threshold was established in 1997 when Tunty Chauhan, through friendships with artists V. Ramesh, Ravindar Reddy, and Lama Goud, to name a few, began exhibiting the works of upcoming artists in Visakhapatnam.
Over the course of the next few years, in association with the Faculty of Fine Arts, Chauhan invited over 40 artists to the city to exchange ideas and share their practices, setting in motion relationships and partnerships that have lasted 25 years and supported the practices of artists across generations. It moved to the Capital in 2001.
This upcoming exhibition and immersive experience will bring the artist to life in the heart of East London’s Brick Lane. A preview by lifestyle columnist Riccha Grrover for Asian Lite International.
Following a successful run of Dalí Cybernetics: The Immersive Experience at The Boiler House, 152 Brick Lane, Exhibition Hub, and their partner, live-entertainment discovery platform Fever, will now present Claude Monet: The Immersive Experience at the same venue, opening this September.
The experience will feature Exhibition Hub’s award-winning, 4K digital mapping techniques through which guests are fully enveloped in Monet’s brilliant and contemplative works in a 3500 square-foot Immersive Gallery. This breathtaking experience goes even further to immerse guests into Monet’s life by placing them in stunning re-creations of Monet’s creative atelier and his luscious gardens at Giverny, while also taking guests on an unparalleled VR journey with the artist.
Break the plane of Monet’s most famous paintings and explore the magnificent landscapes that inspired his works. The show promises a new way to immerse yourself in his masterpieces like never before.
Tickets will be available to purchase from August 1st through Fever’s marketplace.
“After such an overwhelmingly positive response to our Van Gogh, Klimt and Dali exhibits we knew we had to bring Monet: The Immersive Experience to London,” says Mario Iacampo, CEO and Creative Director of Exhibition Hub. “We can’t wait for locals and visitors alike to experience Monet’s incredible works in 360-degree digital surround accompanied by a soaring orchestral score.”
Through this immersive experience, guests will be transported into Monet’s world-renowned works of art, allowing them to fully immerse themselves in the artist’s Impressionist style and brushstrokes. They will embark on a captivating journey, exploring the artist’s life, career, and secrets, as they witness his artistic genius like never before.
Claude Monet: The Immersive Experience is a must-see for anyone looking to discover and enjoy art in a unique and innovative way. With advanced technologies, an immersive gallery, and a historic venue, the exhibition promises to transport visitors to Monet’s world-renowned works of art, creating a truly unforgettable experience.
DETAILS:
Location: Boiler House, 152 Brick Ln, London E1 6RU
The exhibition will be set against the scenic backdrop of Disko Valley near Leh, a land strip, used by the local youth to express themselves and celebrate, hosting a downhill mountain bike path and breathtaking views…reports Sukant Deepak
Sa, which means ‘soil’ in the Ladakhi language, is South Asia’s highest contemporary land art group exhibition held at 3600m altitude in Ladakh.
To be organised from August 1 to 23, the exhibition will focus on climate, culture, and community in high-altitude environments.
Sa Ladakh will feature works by Ladakhi, Indian, and international; Nikolaus Geyrhalter, Phillip Frank, Sharbendu De, Jigmet Angmo, Vibha Galhotra, Skarma Sonam Tashi, Tsering Gurmet Kungyam, Sagardeep Singh and Tsering Motup.
“The inclusion of local artists is a testament to the growing recognition of contemporary art from the region on a global scale”, as highlighted by Dr. Monisha Ahmed, co-founder of Ladakh Arts and Media Organisation (LAMO) and Sa co-curator. The festival will also include projection and video art at night. Artists such as Philipp Frank from Germany, internationally known for his projections in nature, will explore connections between spirituality and the natural world.
The exhibition will be set against the scenic backdrop of Disko Valley near Leh, a land strip, used by the local youth to express themselves and celebrate, hosting a downhill mountain bike path and breathtaking views. In the heart of Disko Valley, will offer an immersive experience through captivating site-specific art installations, cutting-edge video projections, and sculptures.
Raki Nikahetiya, the co-founder of Sa Ladakh, said, “Our primary focus will be on a 20-acre expanse of land, where we will delve into our interpretation of ‘climate optimism.’ Through the medium of land art, our aim is to foster an inclusive dialogue on climate-related issues, engaging and inspiring communities amidst the breathtaking yet delicate Himalayan landscape.”
Supported by LAMO, Snapchat, and Plus.tv, Let Me Breathe, the Australian Cultural Forum, the embassies of Germany and Switzerland, to India, and Local Futures, amongst other partners, the exhibition will be open to the public from 11 a.m. – 5 p.m. The final list of participating artists and programming will be announced in early July 2023.
During the course of the 4th Education Working Group meeting, attendees will engage in dynamic seminars and enriching workshops, painting a vision of innovation in education…reports Asian Lite News
A multimedia exhibition with focus on foundational literacy and numeracy will be launched here as part of the G-20 fourth Education Working Group (EdWG) meeting in Pune, beginning Saturday.
The exhibition will be held from June 17-22 according to Joint Secretary for Higher Education Neeta Prasad. “The exhibition will be open from June 17-22. Delegates from 28 countries and ministers from 14 countries are expected to attend the meeting,” she said.
The multimedia exhibition will be launched with a focus on foundational literacy and numeracy, as well as stalls on other themes. Over 100 exhibitors, including UNICEF, NSDC, NCERT, National Book Trust, Indian Knowledge Systems Division (IKS), and startup initiatives will present their contributions. A seminar and exhibition will precede the main G20 EdWG Meeting.
— Central Bureau of Communication, TN&Puducherry (@CBCCHENNAI_MIB) March 20, 2023
The precursor events of the 4th G20 Education Working Group Meeting and the G20 Education Ministers Meeting hosted by the Education Ministry kicked off in Pune yesterday.
The highly anticipated event will witness the participation of 85 delegates from G-20 member countries, guest countries, and esteemed organisations such as the OECD, UNESCO, and UNICEF.
During the course of the 4th Education Working Group meeting, attendees will engage in dynamic seminars and enriching workshops, painting a vision of innovation in education.
The under the theme of “Ensuring Foundation Literacy and Numeracy, especially in the context of blended learning,” and culminate with the Education Ministerial meeting on June 22, 2023. (ANI)
Tribute to the struggles of the feminine.(photo:IANSLIFE)
The exhibition features showcase a selection of stories, awarded in the World Press Photo Contest from 2000 to 2021, the stories of women who have worked tirelessly to achieve their goals and make a difference in the lives of others…reports Asian Lite News
A 21-day photo exhibition called Resilience – Stories of Women Inspiring Change is on at the India Habitat Centre, Delhi until March 23 as a tribute to the struggles of the feminine through the stories of women from various nations around the world.
Brought to India by the Netherlands Embassy in collaboration with World Press Photo Foundation, this travelling exhibition shows photographs sharing the real-time challenges of women and celebrates their unflinching zeal in breaking the barriers and overcoming hurdles.
Tribute to the struggles of the feminine.(photo:IANSLIFE)
The exhibition features showcases a selection of stories, awarded in the World Press Photo Contest from 2000 to 2021, the stories of women who have worked tirelessly to achieve their goals and make a difference in the lives of others.
The photography exhibition was inaugurated by Dr Bahia Tahzib-Lie, Human Rights Ambassador of the Netherlands in the presence of Meenakshi Lekhi, Minister of State for External Affairs and Culture of India and Marten van den Berg, Ambassador of the Kingdom of the Netherlands to India, Nepal and Bhutan. After the capita, the show will go to Bengaluru and Mumbai.
Tribute to the struggles of the feminine.(photo:IANSLIFE)
“We are thrilled to showcase the resilience and strength of these remarkably brave women,” said Dr Bahia Tahzib-Lie, Ambassador of Human Rights, “Their personal and impactful stories are an inspiration to us all and remind us of the power we all have to make a positive difference in our world.”
This exhibition is a visual testimony of multiple voices, documented by 17 photographers of 13 different nationalities from 15 countries, offer insights into issues such as sexism, gender-based violence, reproductive rights, and access to equal opportunities. The different stories explore how women and gender issues have evolved in the 21st century and how photojournalism is finding ways to portray them.
Tribute to the struggles of the feminine.(photo:IANSLIFE)
The exhibition includes photographs by: Forough Alaei (Iran), Jonathan Bachman (USA), Daniel Berehulak (Australia), Anna Boyiazis (USA), Fulvio Bugani (Italy), Maika Elan (Vietnam), Jan Grarup (Denmark), Terrell Groggins (USA), Robin Hammond (New Zealand), Olivia Harris (United Kingdom), Heba Khamis (Egypt), Diana Markosian (USA), Catalina Martin-Chico (France/Spain), Finbarr O’ Reilly (Canada), Pablo Tosco (Argentina), Magnus Wennman (Sweden) and Irina Werning (Argentina).
