Call For Entry: Athens Video Art Festival 2014

The 10th edition of the International Festival of Digital Arts & New Media of Greece, Athens Video Art Festival, to be held in May, is calling for entries under various categories. Submissions are invited in Video Art, Animation, Installations, Applications, Performances, Music, Web Art and Digital Image categories.

The entries can be submitted before 10th March 2014 (date of postmark), by registering at their website. For more information, log on to http://www.athensvideoartfestival.gr/2014-edition/

Athens Video Art Festival was started with the aim to create an international meeting platform that would bring out current trends in contemporary digital art. As in previous years, the main categories will be accompanied with art acts, presentations and workshops.

The Memory Trail...with Tomson Highway (Cree Playwright, Performer, Canada)

The Arshinagar Project in association with Centre for Canadian Studies, Jadavpur University, Ebong Amra and Shastri Indo-Canadian Institute Presents:

The Memory Trail...with Tomson Highway (Cree Playwright, Performer, Canada)

February 5-9, 2014

On the 5th evening, Tomson will lead a story weaving session at Space, C521 Lake Gardens, while on the 6th evening, he will perform with Rahim Chitrakar, India at the same venue

Tomson will also lead a masterclass on the 6th morning at Space, which will culminate in a small sharing along with Tomson and Rahim's performance that evening. 

On the 7th and 8th, there will be a workshop with the members of Ebong Amra at their space, Tepantar Theatre Village, in Satkahuniya, West Bengal. This workshop is open to a limited number of external participants. 

To register for the events, please call 9831731422 (Arka) or 9836003314 (Dheeman)

Please refer to the attached PDF for further details.

The Arshinagar Project Team

facebook.com/thearshinagarproject 

The Arshinagar Project is envisioned as a collective of artists
and cultural practitioners from different traditional and contemporary 
disciplines, as well as practitioners from other disciplines such as 
anthropology, education and ecology, for research into performance 
as transformational action.
'Arshinagar' means 'the city of mirrors', and the name is derived 
from a song by Lalon Phokir, one of the greatest masters among 
the Bauls of Bengal - wandering mystical musician-performers who 
through embodied practice attempt to touch the unbodied.The logo 
represents the 'ektara' (literally 'one-stringed') - a drone-like 
instrument used in different forms and names in different Asian 
cultures, which has come to symbolize the Bauls.
The Arshinagar Project aims to foster a spirit of freedom, respect for 
human diversity, ecological harmony and love, among young adults, 
youth in colleges and universities, educators and others, through 
performances, immersive workshops in urban and natural settings 
based on traditions of mystical performance and practice as well as 
contemporary performance-craft, through lecture-demonstrations, 
seminars, and journeys through inner and outer spaces

The New York Times Nasreen Mohamedi: ‘Becoming One’

The New York Times                   Nasreen Mohamedi: ‘Becoming One’

 

By Holland Cotter | January 17 , 2014

 

 

An untitled work by Nasreen Mohamedi from one of her notebooks, part of the “Becoming One” show at Talwar Gallery. Talwar Gallery 108 East 16 Street Through January 25    When Nasreen Mohamedi died in 1990, at 53, in India, few people outside a group of artist friends in her home country knew of her. That has changed. A retrospective at the Kiran Nadar Museum of Art in New Delhi last year was rapturously received. She is now recognized as a key figure of South Asian Modernism. Her recognition in New York has been slow but steady. The perspicacious Queens Museum introduced her in its 1998 group show “Out of India.” Talwar Gallery presented an exhibition of her nearly abstract photographs in 2003, followed by another of her fine-line abstract drawings. “Becoming One” has examples of both, covering some 20 years, along with a handful of her written notebooks. The show reveals, among other things, how original and personal her art was. As an international traveler, she was well versed in European art, but it would be a mistake to try to find her roots in Western movements like Constructivism and Minimalism. Her primary inspirations were more culturally specific and concrete. Her photographs of details of Indian architecture, urban and Islamic, of desert landscape and of weaving still on the loom were the visual sources for many of the drawings. And, as her notebooks suggest, her drawing was, functionally, as intimate as formal handwriting, in which discipline and expressivity were inseparable. Mohamedi died of a neurological disorder similar in its symptoms to Parkinson’s disease. Tremors made both drawing and writing extremely difficult, but she continued to do both. In her last journal entry, she writes: “Vibrations multiply. Intensity of sweep. Undulative. Curve slowly comes to a …,” and the writing falters, jumps, drifts off like a thread unspooling, but finally forms a closed circle. I can’t imagine seeing a more beautiful and tender gallery solo this winter.

UPCOMING

RANJANI SHETTAR Between the sky and earth @ Talwar Gallery, New Delhi C-84 Neeti Bagh, New Delhi 110049 January 29 through March 29, 2014

Avid Acceleration 1st to 9th Feb 2014, at ICIA art gallery- kala Ghoda Arts festival