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SIR J. J. SCHOOL OF ART

78, Dr. D. N. Road, Fort, Mumbai - 400 001

Phone: +91.22.22621652

PIN POSTER : ART GATE GALLERY- Mumbai

•  Art Gate Gallery 
•               115, Jamshedji Tata Road, 1st Floor, Above Satyam Collection, Next to Eros Cinema, Churchgate, Mumbai, India 400020

PIN POSTER : NGMA MUMBAI

National Gallery of Modern Art, Mumbai was opened to the public in 1996. It hosts various exhibitions and art collections of famous artists, sculptors and different civilisations. It is located near Regal Cinema in Colaba. 

 Sir Cowasji Jahangir Public Hall, M G Road, Fort, Mumbai, Maharashtra 400032

रज़ा का फ्राँस में रहना भी हिंदुस्तान में रहना ही था। वे जिद्दी थे तो वहाँ रहते हुए कभी फ्रांसीसी नागरिकता नहीं स्वीकार की ..

रज़ा आखिरी सदस्य थे प्रोग्रेसिव आर्टिस्ट ग्रुप के। उनके जाने के साथ एक जिद की उपस्तिथि ख़त्म हुई भले ही अब वो किसी दूसरे रूप में दिखे किन्तु उस शान्त, चमकती रंग उपस्तिथि का सिर्फ अहसास बचा है। रज़ा लम्बे समय तक अस्पताल में अपने होने को शायद कभी नहीं पसंद करते उन्हें पसन्द था स्टूडियो में होना, अपने रंगों के साथ होना और खुद को उस रंग में डुबाते रहना। रज़ा का फ्राँस में रहना भी हिंदुस्तान में रहना ही था। वे जिद्दी थे तो वहाँ रहते हुए कभी फ्रांसीसी नागरिकता नहीं स्वीकार की और जब पूरा परिवार पकिस्तान जा रहा था तब भी उन्होंने हिंदुस्तान में रहना ही चुना। 

SH Raza

उनके चारो भाई, दोनों बहने और पहली पत्नी पकिस्तान चले गए किन्तु वे यहीं रहे। गाँधी के प्रभाव में, गाँधी के सपनो को जानते, समझते और अपनी तरह से उनमें रंग भरते। रज़ा सिर्फ रज़ा ही हो सकते हैं अकेले रज़ा जो अपनी रज़ा से जीवन भर चित्र बनाते रहे और नियमित रोज सुबह अपने स्टूडियो में जाना सिर्फ काम करना। मुझे नहीं लगता फ्रांस में रज़ा को पता था कि अण्डे कहाँ मिलते हैं ? वे स्टूडियो के बाहर की दुनिया से लगभग अपरिचित ही रहे। अपने काम में डूबे रज़ा को पसंद था कविता साथ, अच्छी पुस्तकों और चित्र कला की दुनिया के अलावा वे अपनी पसन्द की रेस्तरॉं इन्द्र में अपने दोस्तों को ले जाना नहीं भूलते थे जहाँ उनकी पसन्द का हिंदुस्तानी खाना मिलता था। उस समय के चित्रकारों का कविता, शायरी से सम्बन्ध चित्रकला के एक अंग की तरह ही रहा। रज़ा को याद थे कई शेर जिन्हें वो वक़्त की नज़ाकत को और गहराई से बयां करने के लिए सुनाया करते थे। रज़ा का न होना सालता रहेगा हम सभी को और उनका जाना ख़ाली कर गया एक विलक्षण, विनम्र, विवेचना कर सकने वाले चित्रकार की जगह जो कभी नहीं भरी जा सकेगी।

 - अखिलेश -2016

(Text and image source from Akhil Esh)

HELP : The memorial plaque narrating the story of Hedma Ram, killed in an alleged fake encounter.

About the Plaque

This plaque in Sulenga village in Bijapur district, Bastar is named after villager Hedma Ram, who was killed on February 4, 2016.

His name is painted at the top of the plaque, divided into three panels. The upper panel shows man, presumably Ram, resting while cattle grazes. He is then surrounded by armed men in the second panel. They are policemen with guns in the plaque.

In the third panel, at the bottom of the plaque, Ram is again lying on ground. Hedma Ram, following his death was “dragged by police.” Other animals, including a crocodile, are witnessing the encounter in the plaque.

Photographed by Kamal Shukla

The villagers of heavily militarised areas of south Chattisgarh have embraced traditional Gond art to narrate their tragedies. The last moments of Gond tribals before they are killed by the security forces, are narrated on Mritak Sthamv [memorial plaque] made of stone. The villagers have captured those moments when security forces have allegedly killed the tribals.

Gond tribals often put up a stone or two to mark the passing away of a member in the village. The plaques, not headstones, are not placed in the burial grounds like in organised religion but mostly in an open space near the village and coloured with pigments extracted from trees. And it’s on these that encounter killings are being documented.

Kamal Shukla is a veteran writer-journalist and activist of south Chattisgarh, who has been documenting such plaques.

An Appeal

Kamal is suffering from cancer and the adivasis of Bastar have joined in an effort to raise funds for him for his treatment for which he has to come to Mumbai regularly. The adivasis  are collecting whatever they can individually in their areas. This is an appeal to all artists, photographers, painters and the readers of this site to help contribute towards his medical expenses. Thank you.

His contact no: 9981635944

From the Director of MOG- Dr. Subodh Kerkar

I had the good fortune of meeting Syed Haider Raza a number of times.In his death India has lost an iconic person.

S  H  RAZA

Apart from being a great artist Raza in my opinion was the symbol of India's pluralism. His works and his being,positioned him beyond fences of religion, cast and creed.He visited all places of religious worship to find the connectivity with the cosmic and the unknown. And spoke passionately about universalism.

In his company I felt an energy of a saint.His bindu painting exudes the feeling of Shunyata.

In 1947 when India became independent Raza Shaib was not only concerned with his personal development as an artist but also worried about what direction ART in India should take.He along with the other members of the progressive group were the torch bearers of the journey of Indian Art.

I will use Nehru's lines after Gandhi's assassination to express my feelings about Raza."The light has gone out of he Indian Art scene.However that light was no ordinary light and will continue to inspire generations of artist to come.RIP I shall not say because Syed Raza was the epitome of peace all his life and in peace he will always rest."

We at MOG join the nation to mourn Raza's death and we are grateful to God that such a one lived amongst us.

-  Dr. Subodh Kerkar

Usha Khanna- Tremendous talent rests in peace forever!

Art and film world and was shaken at the news of demise of Usha Khanna on Saturday, 16, 2016. She was 74 years old. 

(Image copyright : Sudharak Olwe/ source fb)

Remembered as the owner of Café Samovar, at Jehangir Art Gallery at the time it was closed last year, art patrons miss her more for the strong, cheerful personality she had and that vibrated in the Samovar Café and her music. Almost every day when she would be there for hours curiously taking interest in visitors and conversing with them on vivid topics. Never airing her ownership she had mush faith in her staff and the head who looked after the delicacies and cuisines severed there. Satisfaction, be it at her Café or by listening to her music was important. Art was her life and music her soul. India prides in her talent as a third Indian woman music director and intelligent business woman. She died a natural death on her way to hospital. She is survived by two daughter and a son, who made names for themselves in their respective fields like their mother. Her children did the last rites and cremated her in presence of art patrons and film personalities. 

(Memorable Image from Café Samovar )

Text By Pankaja JK 

No copyright image claim by Art Blogazine 

PIN : POSTER : Bengaluru

GALLERY SUMUKHA

24/10 BTS Depot Road 

Wilson Garden, Bengaluru 560 027 INDIA 

Telephone: +91 (80) 2229 2230, 4120 7215

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e-mail: gallery at sumukha dot com

Dileep Sharma’s Latest Oeuvre, “VALLEY OF FLOWERS”

Dileep Sharma’s latest oeuvre, ‘Valley of Flowers’, celebrates the intricate bond between nature and humans; cocooning this communion in the realms of a background that resonate poise and eloquence is a unique aspect which he has not created or captured before. ‘Valley of Flowers’ extracts the essence of beauty that cannot be replicated but only translated, etching a vibration on paper with the fluidity of water colours which is untarnished and unassailable. This phase represents the dimensional shift in the artist’s intellectual process, replacing the robust with a tender approach. His colour composition and motifs have undergone a mutation of sorts, with impressions of his original DNA imprints still intact. The theme is prolonged and extended with ease, just as the seasons revolve and settle, each painting brings to surface the essence of life and the authority of nature. Dileep further immortalises the accomplishment of humans by depicting man-made wonders in all their glory and a deep rooted thought which culminates in a form of imagery.

Amongst all the floral motifs painted in the latest oeuvre, Harsingar flower that hails from Jasmine family has always inspired and motivated Dileep to carve his way into the valley of flowers as it brings back memories of his home town and childhood curiosity. The image of this flower bloomed while he was creating his first self-portrait titled, ‘When Kunwarji was in J.J’ (1998), to symbolize attachment and yearning for his home town while he was studying in J.J School of Art in Mumbai. Thereafter, he has constantly incorporated this motif in a very intriguing and discreet manner, in a print form or as an abstract element in various creations. However, in this show he has resurrected the motif in all its glory; Harsingar in this series reflects his traits of projecting the woman protagonist with strength and awareness of herself. He further incorporates an element of a reverberating sunset to replenish the memories of his home town within it. The colour wash technique provides a unique visual experience and successfully leaves a blissful trail of fragrance within the viewer.

Dileep Shrma

Another motif that has evolved throughout his artistic voyage is his alter ego “Kunwarji”.  In the work titled, ‘Datura’, it has been brought to life as a disciple of Shiva, governed by the spiritual light and power. The intense and potent back composed of Datura flower and the hypothetic intricate web layout surrounding it generates momentum, signifying the evolution of “kunwarji” as a true vital being who is wide, vast, calm, strong, without limitations, firm, immovable, capable of all power and all knowledge. “Kunwarji” becomes a divine warrior, pure and perfect; now in it is an instrumental force for deftly translating the creations of Nature in complete synchrony of geometry.

"Rose" from valley of flowers

In ‘Bloom’, the artist flaunts his workmanship by allotting every minute attention to the detailing facet of the spectacular architectural background and narrating the story with his unique visual dialect. Tender treatment of the flow and form of the architectural background is in accordance to the majestic sight, however, a careful observation reveals that the motifs represents contemporary in a gestural manner. Fusion of the fundamental design structure of the historical place with playful elements of the present tells a story of transformation. The flower too, melodiously blooms from within the protagonist and they blend into each other’s existences.

‘Hibiscus’ gently like a gush of wind brings forth the background, visually and intellectually. Hibiscus flowers are intricately arranged within the protagonist, elegantly forming her tensed legs. While playfully capturing the character, she is teased by a passing breeze, and the essence of Hawa Mahal is established. The rare feeling of a fleeting moment of companionship, which the woman shares with the place and the passing breeze is transferred and resonates within the viewer. The pencil sketch exuberate a wonderful contrast, just like air, pure and expansive.

With another work titled, ‘Forget me not’, the artist pushes us to decipher the emotions of the historical monuments which reside in the innumerable memories of the myriads of visitors they welcome. A tourist gracefully poses with Taj Mahal in the background; the longing request of the traveller that her memory is kept alive within the realms of its structure is communicated, emphasising the fact that we all live and are alive only in memories. The skyline is engaged in an internal battle to attain perfection. ‘Forget me not’ is nostalgic and emotes the phenomena of memories with a tinge of an inevitable pain of separation.

Whether it is ‘Orchid’, ‘Bougainvillea’, ‘African Daisy’, or any other work in this oeuvre, the protagonists are empowered to float in air, suspended in sheer ecstasy, inviting the viewer to experience the same weightlessness which the flowers have imparted to the ones whose body they possess, liberating them and at the same time consent fully imprisoning them. Almost transcending in a devotional state of mind, the flowers worship the one beholding them and in return the protagonist completely surrender themselves, one with the flower’s prayer. With the colours of the flowers iridescently sprawling throughout the background, the emergence and relevance of the backgrounds have a natural flow, instilling a sense of completeness within each story. Dileep swiftly transcends through melodies, monuments, moments, memories & motifs, guiding us through the journey in his ‘Valley of Flowers’. ‘Valley of Flowers’ is a diachronic milestone in his artistic voyage, making it nothing short of a metamorphosis.

‘The Muse’

‘The Muse’ is a fibre glass sculpture of a perfectly beautiful woman standing on the lotus flower that immortalises the relationship between the muse and the artist. According to Dileep, a muse doesn’t just mean a beautiful woman but it is an active and a powerful inspiration that penetrate into the artist to bring forth a work from the womb of his mind. The artist’s admiration for the purity, perfection, elegance, beauty and grace of the muse is literally moulded into reality through this sculpture. It exuberate the eloquence of the muse, who fearlessly surrenders herself during the process of creation with hopes that through the creation which will be born, the existence of her artist will be etched in time forever. The artist truly dedicates this sculpture to the spirit, selflessness and the poised perseverance of a muse.

‘The Artist’

Dileep dedicates this sculpture to all the artists, to that fragment of dedication, devotion and madness within us all. ‘The Artist’ is depicted lying on his most essential tool – the pencil. This degree of devotion and madness is what the artist goes through. They walk barefoot on the edgy sword of their art, unaware of what the future has in store for them; all they are aware of is that whilst they walk they have to maintain complete balance and hope that they don’t slip, cutting themselves into two. The essence of the artist is contained, within the vicinity of their creations. Their creations which they procreate in unison with emotions and nature, is then stored in a museum or is in the possession of the collector, however there is a part of the artist which is fused within the pages of a book, the surface of paper or canvas, within the curves of a sculpture, the eccentricity of an instillation, the melody of music, or a tear of an actor. The mediums are variable but the fixed constant is the will walk of death or glory they embark upon, all for the sake of art, all for the sake to express and share.

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