Nuru Karim, Founder & Design Principal Nudes

NUDE Models

Nuru Karim

About the Architect / Artist

Nuru Karim, Founder & Design Principal Nudes received his Masters in Architecture and Urban-ism from the Architectural Association [AADRL] London, United Kingdom in 2006. He has worked for Zaha Hadid Architects, London in 2005-06. His undergraduate studies include travel and education in the cities of Mumbai, Montreal and London. Nudes operates within the realm of cross-disciplinary cultures of public-art, architecture-urbanism and design optimisation powered by digital “making” tools addressing larger networks of social, cultural and environmental. 

Previous Art-Works by Nuru Karim

1.      Titled “Machining Sound” - Visa Relative – Curated by Bose Krishnamachari 2008, Bodhi Gallery

2.      Public Art / Installation : “Charkha” commissioned by Tata Steel, Mumbai (completed) 2010

3.      Pop-Up pavilion : Woven Thread Pavilion 2014, Mumbai

4.      Public Art / Installation : “Rath” commissioned by Tata Steel, Bhubaneshwar (completed) 2019

5.      Pop-up Pavilion for Mercedes Benz, Mumbai curated by Architectural Digest 2017

6.      “Bare Foot Pavilion”, Goa in collaboration with Artist Sudarshan Shetty 2017

7.      Pop-Up Pavilion “Noah’s Ark” – Cardboard Installation 2017

8.      26/11 Memorial commissioned by Tata Steel 2019-2020, Mumbai

NUDE Modelsis a series of  design research conducted, exploring systems in nature deploying advanced methods in design, computation and fabrication. Experimentation striving towards innovation is the central pedagogoical and cultural agenda of the art/architectural studio Nudes, founded by Nuru Karim. Nudes operates within the realm of cross-disciplinary cultures of public-art, architecture-urbanism and design optimisation powered by digital “making” tools addressing larger networks of social, cultural and environmental. 

NUDE Models explores systems innature/biomimetics, evolutionary computational design and digital fabrication processes which encourages the human body to explore space and time through a series of scales and physical constructs.These spaces test and titillate the sensory modes of human perception and experience thereby orchestrating avenues for discovery, surprise, provocation, rebellion and dialogue. The “models” argue for new forms of interaction between humans and three dimensional space triggered by design systems inherent in nature. These investigations range from exploring sine geometries inherent in ocean waves, topological mathematical surfaces  and pattern formations in nature. These models / prototypes operate at varied scales and constructs ranging from skins, scuplture and spatial installations and are conscious of the human gaze set upon them thereby encouraging interaction and dialogue at a variety of scales. These models focus on the production of “art” as design research in the realm of object making, sculpture, public-art, installations, site-context, space, performance and sound powered by the digital.

Nude models are stripped bare to reveal the true nature of "code" and "production" processes that invites the viewer to cast their gaze on spatial hierarchies that blur traditional boundaries between art, sculpture, installation-art and architecture.

-Nuru Karim

Medium : Materials & Digital Tool Kit

Materials

1.      PLA

2.      PVC

3.      MDF

4.      Cardboard

5.      Solid Surfaces

6.      Acrylic

7.      Paper

8.      Fibre Reinforced Plastic

9.      Cast Concrete

10.  ABS

Digital Tool Kit

1.      3D FDM printers

2.      CNC cutters

3.      Laser cutters

4.      Injection Molding

5.      Vaccum forming

Social Media Handles

Instagram

@nurukarim

Twitter

@nurukarim

Facebook

@inonesskin

https://www.facebook.com/nurukarim

 P R I Y A S R I  A R T G A L L E R Y

42 Madhuli

4th Floor

Shiv Sagar Estate

Next to Poonam Chamber

Dr Annie Besant Road

Worli

Mumbai 400018

Tel/Fax 022 24947673

+91 9323582303

priyasriartgallery@gmail.com,artgallery42@gmail.com,www.gallerypriyasri.com

AQ@Priyasri-The Artist Studio

10th Floor, Ramakrishna Chambers,

Productivity Road, Alkapuri. Vadodara 390007. Tel 0265 2333587 ; 2320053

Apnavi Makanji’s solo exhibition at TARQ.

It is with great pleasure that I write to you about our next exhibition Soil as witness | Memory as wound— Apnavi Makanji’s solo exhibition at TARQ. 

In this exhibition, Makanji presents a series of installations that use a variety of site specific soil as their core medium.The exhibition also includes several watercolour works, and revolves around ideas of memory and home, with a broader horizon that touches migration, identity and human constructs of nature. Please find attached the press release and invite for the show. It would be wonderful to have you join us for the preview which will be at TARQ on Thursday, March 14, 6.30 pm onward. 

A few select works that will be part of the exhibition can be viewed by clicking here. If you do want particular images in high resolution, let me know, and I will send them across as soon as possible.

In case you need further information, please do not hesitate to get in touch with me. Looking forward to hearing from you soon, and if you're in town, I hope to see you at the preview!

New Gallery Bombay : Nippon

Nippon 

Homage to Vishnu Wagh

विष्णू सुर्या वाघ यांनी केलेल्या मरणापूर्वीच्या काही सूचना

विशाल अभंग

१४ फेब्रुवारी २०१९
वाचन वेळ : ५ मिनिटं

कवी विष्णू सुर्या वाघ गेले. ते वाघासारखेच आपल्या मस्तीत जगले. गेली जवळपास अडीच वर्षं त्याच मस्तीत मृत्यूशी झुंज देत होते. त्यांचं जाणं फार अनपेक्षित नव्हतं, तरीही त्यांच्या लाखो चाहत्यांना त्यांचं जाणं चटका लावून जाणारंच होतं. त्यांच्या एका कवितेत त्यांनी त्यांची शेवटची इच्छा व्यक्त केलीय. ती एका अफाट माणसाची बेफाम कविता म्हणूनही वाचायलाच हवी.

विष्णू सुर्या वाघ गेली अडीच वर्षांपूर्वी मृत्यूचा उंबरठा पार करून पुन्हा परत आले होते. तेव्हापासून ते व्हिलचेअरवर होते. मृत्यूशी झुंज देत होते. कधी पणजी, कधी दिल्ली, कधी मुंबई, हॉस्पिटलच्या वाऱ्या सुरू होत्या. मृत्यूशी पाठशिवणीचा खेळ सुरू होता त्यांचा. पण जगण्यावरच्या प्रचंड प्रेमामुळे त्यांच्या चेहऱ्यावरचं निरागस हसू काही संपत नव्हतं.

पणजीच्या दोना पावल इथल्या मणिपाल हॉस्पिटलमधे ते गेली दोनेक महिने होते. आजारपण बळावत होतं.त्यांना याही परिस्थितीत दक्षिण आफ्रिकेत जायचं होतं. जोहान्सबर्गला, केप टाऊनला भेट द्यायची होती. त्यांच्या पत्नी अरुणा वाघांनी त्यांची तीही इच्छा पूर्ण केली. तिथेच वयाच्या फक्त ५३व्या वर्षी या अफाट प्रतिभेचा धनी असणाऱ्या कवीने शेवटचा श्वास घेतला.

विष्णूना हॉस्पिटलच्या चार भिंतीत मरायचंच नव्हतं. कोणत्याही भिंती त्यांना रोखूच शकणार नव्हत्या. `सुशेगाद` या त्यांच्या प्रसिद्ध काव्यसंग्रहात त्यांची एक कविता आहे, `मरण्यापूर्वीच्या काही सूचना` म्हणून. त्यात त्यांचं मनसोक्त जगण्याविषयीचं प्रेम शब्दाशब्दांतून व्यक्त झालंय. विष्णू सुर्या वाघ गेल्यानंतर आता खूप काही लिहून येईल त्यांच्याविषयी. पण ते काय रसायन होतं, हे समजून घ्यायचं असेल, तर वाचावीच लागेल अशी ही कविता

मरण्यापूर्वीच्या काही सूचना
सर्वप्रथम मला शिफ्ट करा दुसऱ्या हॉस्पिटलात
असं हॉस्पिटल –
जिथं स्मशानवत शांतता असणार नाही
जिथं औषधांचा वास येणार नाही
जिथं डॉक्टरांच्या चेहऱ्याला इस्त्री नसेल
आणि नर्सचं हसणंही रोबोटीक नसेल

हॉस्पिटलाच्या भिंतीना
मुळीच असून ये पांढरा रंग
बोलावून घ्या आशू आपटे अन् त्याच्या गँगला
घ्या चितारून मोलेचं घनदाट जंगल
मधूनच डुरकावताना दिसू दे एखादा गवा
किंवा या झाडावरून त्या झाडावर झेपावणारं
मातकट रंगाचं शेकरू

सुतकी भावनांचे मुखवटे घालून
हॉस्पिटलात येऊच नये नातेवाईंकांनी
किंबहुना नातेवाईकांना कळवूनच नका
एंट्री द्या फक्त मित्रांना
प्रत्येक विजिटरला हॉस्पिटलच्या खर्चाने
दारू मिळेल अशी व्यवस्था करा
उदबत्त्याविदबत्त्या नकाच लावू
प्रत्येकाला ओढायला लावा सिगारेट
मला द्या चार पाच झउरके
वॉर्डभर करा इतका धूर
की मृत्यूलाही
काही क्षण समोरचं काहीच दिसू नये

सक्तीची रजा देऊन
घरी पाठवा सर्व नर्सींना
जुन्या नव्या सर्व प्रेयसींना सांगावा धाडा
काळजी एवढीच घ्या
की त्यांचं टायमिंग क्लॅश होऊ नये

डॉक्टर म्हणून शक्यतो
कवींनाच ठेवा पूर्णवेळ बिनपगारी
नलेश सलाईनमधून थेंब थेंब निसर्ग पाजील
अरुण म्हणेलः कोसो मैल दूर आहे सर्जरी
केळुसकरने सिरिज टेकवताच झिनझिनाट
संभाच्या शाहिरीने झोपेची वाट
दिनकर म्हणेलः डोंगरीचा पिंपळ झडू लागला
खाटेवर वाघोबाही सडू लागला

सुऱ्या गाईल नदीवरची कविता
नि तरंगवत ठेवील सूरांच्या पाण्यावर
साहेबराव खिशात घालून घेऊन येईल क्वार्टर
फुटाणे म्हणतील लाल रक्त महाग आहे
फमु सांगतीलः देव आणि प्रकृती
यांचं काँबिनेशन असलेला
हा विचित्र वाघ आहे.

कवीच्या ट्रीटमेंटमुळे मी मेलोच
तर अंत्ययात्रेचा सगळा खर्च
सुधाभाईवर घालावा

येऊरला मोठ्ठी पार्टी करावी
माझा मृतदेह मध्ये ठेवून
डॅनिएलनं नॉनस्टॉप जोक्स सांगावे
रजाने नुस्त्या बोटांनीच चित्रं काढावीत अंगभर
सर्वांनी गावं नाचावं हसावं खिदळावं
खावं प्यावं झिंगावं पडावं कोसळावं

मला जाळू नये किंवा पुरू नये
फुलांच्या मुलायम हातांनी भिरकावून द्यावं
आभाळाच्या कॅनवासवर
तिथे आधीच असलेल्या तुकोबाने
हात पुढे करीत मला झेलून घ्यावं
नि एवढंच म्हणावं –
आपण जिवंत आहोत,
विठू कधीच मेला होता!

शेवटच्या पार्टीत झिंगून
प्रत्येकाने जायला निघावं
नि स्वतःच्या घराची वाटच विसरून जावं
मग साऱ्यांनीच
एकमेकांच्या अंगणात
मुक्या शब्दांची नक्षत्रं पेटवावी
काही तुक्यासाठी…
काही माझ्यासाठी!

विष्णू वाघांनी आपल्या आयुष्याचा फार सुंदर काळ ज्यांच्यासोबत घालवला असे सगळेच कवीमित्र या कवितेत आलेत. त्यांच्याइतकं नाही, तरीही मनसोक्त जगणारे. त्यात रामदास फुटाणे, फ. मुं. शिंदे, नलेश पाटील, महेश केळुसकर, साहेबराव ठाणगे, शाहीर संभाजी भगत, अरुण म्हात्रे, दिनकर जोशी अशा त्यांच्या बैठकीतल्या कवींची सोबत त्यांना हवीय. गोव्यातल्या मोलेमधलं जंगल चितारण्यासाठी त्यांना कोकणातले चित्रकार आशुतोष आपटे हवे आहेत. ठाण्यातल्या येऊरला पार्टी देण्यासाठी माजी नगरसेवक सुधाकर चव्हाण आहेत. शिवाय चव्हाणांच्या बैठकीतले डॅनियल जोक सांगायला हवे आहेत. त्यात रजा असा उल्लेख आहे, ते जागतिक कीर्तीचे महान चित्रकार रझा असावेत.

शिवाय संत तुकाराम आहेतच. विष्णू वाघ कवी म्हणून तुकोबांना सोबत घेऊनच लिहित राहिले. त्यांचं एक नाटकच आहे, तुका अभंग अभंग. तुकोबांसारखंच अभंग राहावं, हीच कवी म्हणून त्यांची शेवटची इच्छा असावी. मराठी आणि कोकणी पुढची अनेक वर्षं विष्णूंना विसरू शकणार नाही. त्यांची राजकारणी म्हणून भूषवलेली पदं कुणाच्या लक्षात राहणार नाहीत. पण त्यांची कविता अभंगच राहील. ती कविता आणि त्या कवितेने दिलेली खुद्दारी हीच त्यांची ओळख होती.

Contemporary Art through My Vision

"I don’t think about Art when I am working. I try to think about my Life.” - Jean Michel Basquiat (American Artist)

The above lines are what each & every artist all over the globe can relate to & agree even more. All artists whether dead or alive had or have this in their mind; maybe sub-consciously, while they were or are making an art piece. Their life, culture, upbringing, beliefs, eating habits, body language etc.; each & everything is some way depicted in their work. The artwork/paintings, right from those on various cave walls ages ago up to the colorful canvases, sculptures & all the other art categories if studied carefully depict the gradual evolution of that respective stream art.

While art has its own language, I firmly believe that it does get modified depending on the time/era it is used in. If I speak of it today it sums up in the term Contemporary Art, that is seen everywhere these days. Whether you talk of Italy, Canada, China, Japan, India or any other place the most common thread/color/medium all the artist come up to is Contemporary Art.

I belong to a creative field where we believe anything & everything is to be expressed & it can be expressed. I have seen the society changing from “Women come below Men” to “Gender Equality where men also are seen supporting Feminism” globally. Every transition in the society comes up like a trauma for the people witnessing this transition. This is what the artists try to portray through their work.

As our Indian society slowly started westernizing now & also while it was forced to change during the British rule, artists had very less freedom & were criticized for all they made too. This continues even today. Contemporary artists are aware of it & yet are increasing day by day. While our western counterparts have learned from their mistakes & now there are quite a number of people who really appreciate Contemporary Art & respect the artists even more. Personally speaking, Contemporary art is an ice-breaker for those aspects of the society that I conveniently shut my eyes to.

The artists with their artwork create amazing sensory alarms that force all my senses to wake up in full attention.

Example: James Turrell’s work installed in Guggenheim (2013)

Their artworks actually embed meaning in materials directly or indirectly, that since my childhood were taught as non-living things, things that basically mean nothing & make no difference. But, their use in various artworks means differently & is often the most important ingredient as well.

Example: Kara Walker’s Sugar Sphinx in Domino sugar factory in Brooklyn (2014)

The work of Eric Gregory Powell called Tomorrow (The collection of Ullen’s Center for Contemporary Art, 2013) is what I call, an amazing slap right across the face of those who preach that one has to be under control at all times & need to lead a life that is acceptable to the society. But, what about tomorrow? Will you see it? What about your dreams? Who will fulfill them, when & how?

Example: Eric Gregory Powell called Tomorrow (2014)

The universal fact about being human is never ridiculing someone for their flaws. Whether the Indian or Western Contemporary Artists both know that their respective society, culture or belief system is absolutely blind to some specific points. That is why they bring that under spotlight & end up being criticized for it the most. India is known for its diversity & thus it becomes more difficult for artists here. If a certain artwork is welcomed with open arms by one culture, it is equally or at times even hated by another. The virtues & beliefs of each culture/religion in India are very different though they all teach the same values. Thus it becomes difficult for Contemporary Artists to actually come up with something the entire loves. 

I conclude by saying that Indian or Western whichever route you choose to view Contemporary Art, it is most important to remember that first comes YOU-The Viewer. If you as a person understand, disagree, like or dislike it, society eventually will do the same. 

You are the society & the society is by you.

Vidhi Joshi 

Art Writer Team

2019 @Art Blogazine 

(PS: This article is not written for commercial use.)

Arario Gallery @India art fair

POSTER : NGMA MUMBAI

Inside the Empty Box
Presented by: National Gallery of Modern Art, Mumbai, Ministry of Culture,
Govt. of India in collaboration with Bodhana Arts and Research Foundation 

Opening on Friday, 08th February, 2019 at 5:30 PM at NGMA, Mumbai 

Date: Open for Public from 09th February, 2019 to 08th March, 2019 
Timing: 11:00 am to 6:00 pm Closed on Mondays & National Holidays

PIN POSTER : ART GATE GALLERY

Pratap Morey’s second solo exhibition at TARQ and our exhibition for Mumbai Gallery Weekend 2019.

It is with great pleasure that I write to you about our next exhibition Concrete Ciphers—Pratap Morey’s second solo exhibition at TARQ and our exhibition for Mumbai Gallery Weekend 2019. 

In this exhibition, Pratap continues to explore his preoccupations with the constantly morphing artificial geography of urban spaces. He consciously moves away from the digital image, to work only with lines, be it in the form of drawings, relief sculpture and painting. His imagery focuses on industrial development, specifically the constant unorganized bombardment of cities in the name of redevelopment, which rapidly engulfs the neutral and vacant spaces available.

Please find attached the press release and invite for the show. It would be wonderful to have you join us for the preview which will be at TARQ on Wednesday, January 16, 6.30 pm onward. 

A few select works that will be part of the exhibition can be viewed by clicking here. If you do want particular images in High resolution, let me know, and I will send them across as soon as possible.

In case you need further information, please do not hesitate to get in touch with me. Looking forward to hearing from you soon, and if you're in town, I hope to see you at the preview!

Pisurwo Jitendra Suralkar is a character. A character that is defined by a stubborn triumph in art.

PISURWO 

SOLO exhibition 

Jehangir art gallery 

1st jan to 7th Jan 2019

ANAMIKA अनामिका 

The name Anamika (female) comes from the Sanskrit word which means, "nameless." Sanskrit word which means, "person without name  ring finger (finger between middle finger and little finger) is called anamika in sanskrit." Sanskrit word which means, "a beautiful lady having no name.." Hindi word which means, "nameless or without description."

Also suggested is name an Indian word which means, "the ring finger." Hindi word which means, "ring finger." Sanskrit word which means, "The Powerful Ring Finger,The nameless finger. Many cultures  avoided the true name of a powerful entity, and called it indirectly or called it nameless.."

Pisurwo Jitendra Suralkar is a character.  A character that is defined by a stubborn triumph in art.  He incarnates practices not as inspiration or technical sycophancy but rather as ideological exercises in conversation with the artists Hussain & Picasso.  Art History and its tango with Indian contemporary artists suffers a bias of duality.  One that arises from its own lethargy to remain accessible from its occidental perch ,  serious attempts to include history of art from India began in the last decade of the 20th century and has being ongoing in the 21st century once India's promised the world the possibility of it being an economic power house.  Syllabuses at art schools in India have a disdain to catching up and thus artists disregard art history as an engagement not worthy of vocation fearing its inaccessibility.  Translations are extremely rare and thus many pedagogical exercises in state funded redundant.  Pisurwo does not come from the Sir JJ School of Art,  he studied on the plateau above the Ajanta Caves at the Khiroda College of Arts,  Gulzar Gawali , surrealist painter was his teacher.  Shifting to Bombay in the year 2000 as a painter he pursued his practice beginning with the pavement art gallery at Kala Ghoda to mystical meetings with MF Hussain.  A practice that is marked by his mastery of stroke and an intelligence with colour.  At the Gufa Gallery Pisurwo confronts the artist to whom he is compared but not the one he sees himself ape, rather he affirms an incarnation in attitude ,  ideology and stroke.  Pisurwo is a living legend and among the subaltern rebels to art history and the ways of its gathering.  

Sumesh Sharma 

Bombay,  2018 

TO LIVE TO PAINT TO LIVE

Looking at Pisurwo’s work, the first thing we notice is the omnipresence of the human face. The more naturalistic works and the portraits, practiced by the artist since the beginning of his career until now - and probably forever - give us the entering point in his world. 

His way of engaging with the portrait, which could be wrongfully read as a classical attitude, is very much influenced by the years passed as a street portraitist, by all the constraints and the context of the job: the drawing has to be fast, the result must be resembling and satisfying for the subject/buyer. There is no study of the psychology of the character, no gaze through his mind and soul, just his blank appearance - just Pisurwo’s swift and secure lines. Nothing but pure drawing. And when this manner is freed by those constrains, it becomes the medium for the real content of his portraits and naturalistic sketches: his relationship with the characters. His wife, his children, his family, the professors that helped him, the painters that inspired him, everyone is there in a familiar and intimate universe held by Pisurwo’s care and will to honour them. His numerous sketchbooks are filled to the brim with drawings, faces, bodies, and always his signature, that he marks on the paper as a real creative act, along with the date and, strangely enough, the time at which the sketch was taken. This seemingly irrelevant detail demonstrates that for Pisurwo drawing is more then the simple registration of world around him, it is the immediate translation of that world, the almost instantaneous transcription of forms. Simply put, sketching has become one with the act of seeing, his own way of perceiving reality. 

In his studio near the Ajanta caves, portraits are not the only Pisurwo’s occupation. Next to this mystical site, Pisurwo seems to be visited be all sorts of images, or even, of spirits. Yakshinis and yakshas, kings and queens and mythological figures invade his canvases in a dreamlike state that echoes cubist aesthetics and M.F.Hussein work. An immense cosmogony unravels before us as we witness the spirits suffer, rejoice, engage in dialogue or in sexual acts; we see them merge and overcome duality. As an obsessively repeated facial pattern, they saturate the page or the canvas, leaving nothing except their presence for us to see. From the smallest drawing to the largest canvas, this horror vacui could come from his relation and incessant observation of the Ajanta cave paintings themselves, evolved and transformed through Pisurwo’s sensibility. This overflowing of signs, lines, marks and gestures is profoundly characteristic of his work. Plates, family photos, house walls, insignificant objects, leafs, stones and even a dead cockroach, nothing is spared, everything is a suitable support for his magmatic creativity: an all-over that could cover hills, mountains, us all and the entire world. 

A personal quest for meaning that, by engulfing everything around him, engages us in a journey beyond reality itself.

Painting as breathing,

drawing as living,

art as a way of being.

- Text by Niccolò Moscatelli (Paris France)

PISURWO 

SOLO exhibition 

Jehangir art gallery 

1st jan to 7th Jan 2019

ANAMIKA अनामिका