Wednesday, November 30, 2011
Dear Friends, Reproducing the call for entries from the JDCA's National Short & Documentary Film Festival on Art and Artists to be held in January 2012. We are unable to attach the entry form since this mail is a groupmail. For the entry form pls write to the festival authorities at one of the email addresses given below. firstname.lastname@example.org, email@example.com, firstname.lastname@example.org, for DFA Uma Tanuku REQUEST TO PARTICIPATE Greetings from JD Centre of Art. The JDCA Film Forum will hold The 6th National Short and Documentary Film Festival on Art and Artists being held on Wednesday 11th, Thursday 12th & Friday13th January 2012, in Bhubaneshwar, Orissa. The theme of the festival is ‘Celebrating and Reminiscing Masters’. It is significant as we honour the works of M.F. Husain, Mani Kaul, Devi Prasad, F.N. Souza, Biren De, Asad Ali Khan, Bhagwan Garga, Jahangir Sabbawala and many other artists and filmmakers. There will be a new section this year for screening short films up to 5 minutes by students and first time filmmakers and 3 best films will be honoured. JDCA takes great pleasure in inviting you to participate in the festival. · Receipt of films: 2 DVD’s accompanied by completed forms, must reach at the earliest. Film makers whose works have been selected will be informed. · If your film is selected by the committee, you will be provided with travel & local hospitality. · If you have any article on documenting rare art forms, please send it to us so that we can use it for the brochure. JD Center of Art, established in 1997 is the vision of an artist and is a non-profit institution for conservation & promotion of traditional & contemporary visual art, situated in Bhubaneshwar, Odisha JDCA Film Forum was established in 2006 to archive short and documentary films on the whole range of art forms (Art of Nature and Manmade Art).
Labels: JDCA's National Short Documentary Film Festival on Art and Artists to be held in January 2012., Johnson Thomas
Sunday, November 20, 2011
Distinct Four group exhibition of paintings by Dhiren Sasmal Jagannath Paul Deepa Vedpathak B Nagesh Goud Show on from 19th November 2011 to till 3rd December 2011 Timings: 11.00 am to 7.00 pm view show online www.alankritha.com or www.alankritha.in
Friday, November 18, 2011
Wednesday, November 16, 2011
Tuesday, November 15, 2011
Dehradun Dated:16.11.2011 EXHIBITION OF RANU SINGH’S PAINTINGS AT MUSE ART GALLERY, HOTEL INDERLOK, DEHRADUN An Exhibition of Ranu Singh’s Paintings is being held at Muse Art Gallery, Hotel Inderlok, Dehradun from 16th November, 2011 to 15th December 2011.The Exhibition is scheduled to be inaugurated by Shri Jyoti Swaroop Pandey, IPS, Director General of Police, Uttarakhand on 16th November at 6:30p.m. On display at the Gallery are a total of 34 Paintings, 22 of which are Oil Paintings on canvas while 12 are Oil Paintings on paper .The paintings reflect the Artist’s endeavours towards the ideal of “Satyam,Shivam,Sundaram”, of which the students were constantly reminded when she was doing MA(Painting) way back in mid-seventies. These Paintings are the product of dedicated efforts by the Artist to create beauty and harmony, which is pleasing to the eye, does not offend anybody and gives one a sense of good feeling and peace. This is Ranu Singh’s 6th Exhibition of Paintings, 5 of which have been Solo Exhibitions. In 1995, she held her first Solo Exhibition of Paintings (named “FEELINGS”) at “Lalit Kala Academy, Chennai. In 1996, she participated in the “Regional Arts Exhibition” held at Lalit Kala Academy, Chennai . In 1998 , she held another Solo Exhibition of Paintings (named “Different Strokes”) at Lalit Kala Academy, Chennai. Ranu Singh held her 4th Exhibition of Paintings (Solo) at Lalit Kala Academy, New Delhi. She held her 5th Exhibition at Hotel Ashok, New Delhi in 2005. Holding this Exhibition at Dehradun is home-coming for Ranu Singh. She had lived all her life in Dehradun till her marriage in 1977. She did her BA (Home Science and Drawing & Painting) from MKP College , Dehradun and MA (Drawing & Painting) from DAV College , Dehradun. After her marriage, she lived in different places, wherever her husband was posted, such as Tiruppur, Coimbatore, Trichy, Nagercoil , Madurai , Chennai, Chandigarh and New Delhi. After her husband’s retirement, the couple have settled down in Dehradun since 2009.
Tuesday, November 8, 2011
Mumbai ARt Kollective (MARK) presents Prakash Bal Joshi / Anjali Purohit ୭------------------------------------------------------------------------------ Location Kamalnayan Bajaj Art Gallery Bajaj House, Nariman Point Mumbai, Maharashtra Monday ,November 7 to Saturday 12 November ,2011 Time : 11 am to 7 pm -------------------------------------------------------------------------------- Theme of the exhibition WORLDS WITHIN WORLDS One world we say. But within this there exist so many worlds. Distinct, self sufficient and presumably isolated and unaffected by what goes on in the other worlds. A myriad microcosms independent, self-sustaining. Till such time that the worlds overlap, collide and impinge on each other.
Friday, November 4, 2011
G.R.Iranna Scaffolding the Absent THE GUILD MUMBAI November 4 - 22, 2011 Press Preview: Thursday, November 3, 4:30 pm Preview: Friday, November 4, 7 pm – 9 pm www.guildindia.com Scaffolding the Absent: G.R. Iranna’s Phenomenological Interventions “Martin Heidegger pointed out that in every fear there is the recognition of our vulnerability, our mortality, and that anxiety, that feeling of finding ourselves cast adrift, nothing supporting us, nothing to hold on to, is a premonition of what dying will be: a being cast from existence into the void, into nothingness.”  —Philosopher Alphonso Lingis The Guild Art Gallery is pleased to present Scaffolding the Absent solo exhibition of G.R. Iranna featuring his most recent body of paintings, with catalogue essay by critic/curator Maya Kóvskaya, PhD. previewing on Friday, November 4, 2011. In this powerful collection of five new large-scale works, G.R. Iranna meditates on human mortality and the fragility of our existence. “I wanted to create the fragile and slippery ground upon which our life and our existence rests,” explains the artist. Using the figure of the Buddhist monk and Buddhist iconography as a metonym for larger questions, he employs his characteristic visual language in “scaffolding the absent” elements present in our search for an understanding of Being against the backdrop of its incompleteness in our mortal journey. Through his phenomenological visual interventions, Iranna shows how we have failed to articulate a language to explain our origins, our destination and our sense of purpose in the collective solitude of humankind. Even when we are together, we stand alone in tackling these question that concern each of us and define the nature of our mortality. While nominally depicting religious symbols, the works are not representations of Buddhism, per se, but rather visual vehicles for exploring deeper human questions alluded to in the quotation by Alphonso Lingis above. With characteristic abstract backgrounds, devoid of figurative, representational content, Iranna’s work embodies the “neither here nor there” space that Michel Foucault called “heterotopias”—interstitial spaces at “the intersection of the real and the virtual” that collapse the binary between the two—and what Homi K. Bhabha interprets as a “third space of enunciation”—heterogeneous, hybrid, transnational and post-national discursive spaces of cultural production. In this way, Iranna transcends the pervasive Orientalist essentialism that is frequently implicated in iconic representations of “Eastern” spiritualist symbology. Multiple layers of absence are present in this body of work. Absence appears in Iranna’s paintings in the Buddhist sense as absence of desire, longing, struggle, manifesting as transcendence in the search for meaning. It appears in the phenomenological sense as the absence of explanations and definite answers to the questions of existence. Absence resides in the spatio-temporal dislocation of the figures of against the heterotopic background and foregrounded perforations in the surface appearance of the works, and heterotopia makes absence into a space of possibility. Visually there is also an absence of horizons; there are paths but no destinations. There is an absence of faces, or facial expressions, and the monks are sometime depicted on a journey with an unknown destination, traveling upon the most fragile and unsteady of supports—bridges cobbled together with metal sutures, held up by wobbly crutches, as if to question whether the structures of faith available to us can actually support the weight of the human condition. From a diversity of perspectives, Iranna’s work performs the function of “scaffolding the absent”—deconstructing the very elements it formally offers, and bringing the latent instability of the invisible structures underlying them to the fore. Scaffolding is typically used as a noun, referring to ad hoc support structures, such as temporary architectural platforms used during the building and repair of an edifice (structural or social), but can also metaphorically refer to religious belief, systems of social regulation, dominant societal norms, and so on. Scaffolding can also be used as the gerund form of the verb ‘to scaffold,’ and as a reference to the activity or process of building a temporary platform that supports the erection of an edifice. Thus G.R. Iranna offers a scaffolding of the absent; a temporary structural outline of that which is invisible within the frame, but contextually present in its visible absence, and in doing so, he asks us to reflect upon our human predicament. —Maya Kóvskaya, PhD  Excerpted from the catalogue essay of art critic Maya Kóvskaya, PhD.  Alphonso Lingis. 2006. Defenestration (Deleuze Conference Paper). http://gavinwit.googlepages.com/Lingis.pdf. Accessed 30.07.2007. Iranna obtained M.F.A. from Delhi College of Art. He has had several solo shows the latest being Ribbed Routes, The Guild, Mumbai 2010 and ‘Birth of Blindness’, The Stainless Gallery, New Delhi and Aicon Gallery, London and New York in 2008. Iranna is a recipient of National Academy award in 1997 and the M.F.Husain and Ram Kumar award. G.R Iranna has been nominated from India for the ABPF Signature Art Prize 08, Singapore Museum.He has widely participated in many significant group exhibitions and workshops in India and abroad, including 'Roots in the Air, Branches Below: Modern & Contemporary Art from India', San Jose Museum of Art, San Jose 'Time Unfolded', Kiran Nadar Museum of Art (KNMA), New Delhi; 'Finding India: Art for the New century', Museum of Contemporary Art, Taipei, Taiwan, by Sakshi Gallery, Mumbai, Go See India, curated by Amit Mukhopadhyay and Oscar Aschan, Gothenburg, Sweden, Cultura Popular India y mas alla, la presidenta de la comunidad de Madrid Museum, curated by Shaheen Merali (2009), and Arad Biennale, Romania(2005) among others.