Emotionally intense experience that Ghatak’s films are they are also a reflection on consciousness, nature, and human destiny. They invite us to make connections with cultural pasts and political landscapes, and open up a space for thinking the history of the present. Cinema rarely affords us this adventure of ideation.
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I’m no longer in Jatra because the Jatra no longer has any use for me. Now I perform two or three shows a year at Sitaramdas Onkarnath Thakur’s ashram, where it is against the custom for women to perform. He has written some good plays. There, I do the direction, supervise the stage, mike, lighting arrangements the setting of the mikes, everyone’s makeup, do my own makeup and then play the main part. I really have to slog. But still, being in the midst of my work makes me happy.
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A River Inside, Manisha Parekh's latest show in Mumbai at the Jhaveri Contemporary gallery, was rooted in the line in its various forms. It showed off various shapes and forms, most notable being the layered perforated stories she created with handmade paper.
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Visiting the Kochi-Muziris Biennale and the India Art Fair 2019, I noticed a growing interest in using handmade paper as an artistic means of expression among the exhibiting Indian artists. Here I’m not talking about artists buying handmade paper to draw and paint on, but artists who use pulp, their own produced paper or manipulate pulp and paper in untraditional ways as an artistic statement.
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Can a painting be ‘heard’? When one encounters the works of the artist Gopi Gajwani, it is not difficult to experience the whispering strokes of charcoal and paint. The confidant vibrancy conveys the assuredness of their being, yet there is a sense of contradicting fragility, a layer of calm and subtle seduction.
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This issue of TAKE on Art tries to re-explore the history and the contemporary situations in Bengal in order to regenerate an alternate form of history-writing. Situating the narrative within the framework of a number of iconic images that define art in Bengal, spanning across different historical periods, the idea is to delineate a history in parts to create a whole through a visual narrative.
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In this age of the internet, we have a group of artists presented as ‘Neti-netizens’. Curated by Girish Shahane at Gallery Threshold, these ‘Vanguards’ bring forth a legacy that produces meditative imagery, which differs refreshingly from the populist present-day avant-garde expression.
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Kansara seems obsessed with his family. He records and rerecords conversations around the dining table; his grandparents sleeping and moaning and reminiscing, projecting videos previously recorded, onto wall spaces and then re-recording them.
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Over the past decade, Mumbai-based artist Jitish Kallat has risen to international stardom as one of the beacons of Indian contemporary art. Curator Sharmistha Ray engages the artist in a conversation fine-tuned to key developments in his artistic practice, his most significant works and how they have shaped him as a conceptual artist.
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An expert in modern and contemporary Indian art, Amrita Jhaveri, India’s first representative at Christies, author of 101: A Guide to 101 Modern and Contemporary Indian Artists and more recently consultant to Frieze Art Fair, London, terms her journey as an art collector ‘a moving feast’.
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