In the 20th century, Dadaism revolutionized the nature of art. It mocked traditional art, literature, and societal values, focusing instead on creating with the aim of making bold statements. Rejecting aesthetics and creativity, it emphasized absurd, chaotic, and incoherent art forms. Sensibilities were reconstructed to resist the brutality of war, while opposing traditional societal ideologies. This impact resonated globally, although regional aesthetics continued to influence artistic creations.
During this period, the influences of formalist and expressionist ideologies persisted in art creation. Formalism viewed art as a neutral and pure technique. According to this perspective, the personality or emotions of the artist were excluded from the artwork, focusing instead on the techniques, tools, and structural characteristics of the art itself. Formalism advocated for viewing art purely for its formal qualities. The artist’s emotions, messages, or intentions were deemed irrelevant. Artistic standards emphasized technical components, with no room for the personal interests of the artist or the audience. This philosophy valued art for its formal strength, employing systematic thought, strategies, and rules.
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On the other hand, expressionism leaned more toward personality and emotions. It prioritized the artist’s feelings, personality, and experiences as the foundation of art. Emotional connections between the artist and the audience were considered the primary source of beauty in art. Through this ideology, artists powerfully expressed their emotions and thoughts. The ultimate goal of art was to establish an emotional dialogue with the audience’s inner self, offering not just aesthetic experience but also a fresh perspective on ideas, concepts, and experiences.
Drawing from this ideological framework, Anand Prabhudesai symbolically used the “Madhyama” (middle) finger in his art to express personal emotions, ideas, and societal contradictions. In Indian philosophy, the middle finger is a potent symbol representing various emotions expressed in philosophy and art. Typically, the middle finger is associated with anger, resistance, freedom, rebellion, and protest against injustice.
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By using the middle finger, Anand clearly conveys his emotions and ideas. This gesture is not merely a physical symbol but, through sculptures, delivers a profound social and political message. The striking element in these sculptures is the imprint of famous paintings. However, “Madhyama” encourages viewers to reflect deeply. Through his middle finger and the imagery of these famous paintings, Anand establishes an impactful dialogue, attempting to awaken viewers. This approach renders his art more meaningful and thought-provoking. His use of the middle finger powerfully critiques social and political systems. Historically, many artists have used this symbol to oppose the atrocities of ruling classes. Artists have employed the middle finger in their art to protest against inequality and injustice, delivering their messages to the audience.
Through his sculptures, Anand rejects the policies, actions, and ideologies of the ruling classes. This makes his sculptures impactful not only from a personal emotional perspective but also in terms of social and political significance.
Anand’s sculptures (“Madhyama”) are a powerful medium of communication. Through this symbol expressed in art, he has strengthened the relationship between the artist and the audience. The ways in which he has used and presented the middle finger adapt according to emotional, social, cultural, and practical contexts.
Anand’s sculptures are becoming a significant medium of societal dialogue. This dialogue does not merely offer an aesthetic experience but becomes a voice against injustice, dominance, and inequality in society. While formalism values the technical purity of art, expressionism emphasizes the intrinsic emotions and philosophical messages within art. Similarly, Anand’s choice of the middle finger as a powerful symbol gives new meaning to his sculptures in diverse social and political contexts, making it an effective tool for awakening society.
Smita Nilesh
2025
Time: 3pm to 7pm ...... ..........में जाओ” MADHYAMAA - मध्यमा View On screen show - https://nippongallery.com/product-category/anand-prabhudesai/ We will go to the same black hole, there is no Upper Parel or Lower Parel. Solo show - Anand Prabhudesai Curated by Nilesh Kinkale @nileshkinkale मध्यमा अंगुली शब्द का प्रयोग उस इशारे के संदर्भ में किया जाता है, जो “भाड़ में जाओ” का अशाब्दिक संस्करण है, जो अक्सर सड़क पर उग्र कारों में या किसी खेल आयोजन में क्षणिक झगड़े से दूर जाते समय किया जाता है। #kalaghoda #mumbai #kgaf #kalaghodafestival #india #art #mumbaidiaries #kalaghodaartsfestival #bandra #bombay #fort #follow #bullet #kalaghodaartfestival #photography #instagram #kalaghodafest #maharashtra #colaba #mumbaifoodie #cafeandbar #bulletclub #instagood #andheri #dmforshoutouts #bulletgedi #thuglife #kalasher #alloywhee |
