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M.F.Husain was a legend and legend doesn't die, he gets transformed into things he had intimately accustomed with during his life time.

Translation Editing by Pankaja J K

 M.F.Husain was a legend and legend doesn't die, he gets transformed into things he had intimately accustomed with during his life time.

The particular body which we associate with Husain was his I-Card, his habitat and a vehicle of conveyance i.e his body which was fit and fine until a few days before his demise. . Whenever I had come across him I observed that he was never in his body but with his body, utilizing it as an instrument of prime importance. The reason might be, that he knew that God had gifted him such a beautiful and long lasting natural vehicle bearing wings of imagination so that it could help him to fly very high where others wouldn't even dare to dream.

(copyright photograph by @Tathi Premchand)

Along with the vehicle God also gave him the key which was, the liberty to operate himself. He had taken every care to maintain the vehicle and the key with discipline and good lifestyle. But on 8th June 2011 at an unfortunate moment he forgot the key inside his prestigious vehicle and locked himself out eternally. That unexpected tragedy forced him to leave the body forever. But naturally his physical existence became eternal and then he spiritually migrated to his most sought-after things that include the nation he belonged to as his birth right, floated in the memory of his father, mother and his wife, his prospering children, grand and great-grand children, people he loved and people who loved him. He left his memories in his paintings and his tools. His future always brought to him challenges and his exotic dreams that he saw with closed eyes and broad intellect.

His field of association was so vast that his process of spiritual migration must be still on. For him it must be like a pilgrimage which I believe will continue further perpetually on a more intensive level on coming auspicious day known as ASHADI EKADASHI in Pandharpur where he was born.  He had been very dearly associated with his childhood memories of this place. Thus his voyage will complete its first round and will begin the next one, and then the next one and next one and so on till the human beings and their creativity exist on earth.

This is the time to remember his contribution, (and not the controversies).

And therefore I would like to share briefly with you my personal studies cum observations about him and his work right from my student-days till today.

In sixties and seventies of the last century , beside Jehangir Art Gallery there were only four galleries in Mumbai, Chemould, Pundole, Chetna and Taj Mahal Hotel The number of artists were also less and amongst them the prominent presence of Husain could be felt everywhere in the art field. Husain was well known then as he is today and surely will remain in future too.  Why is it so? I asked myself and the answer that I inferred was that, while doing his own work he has worked silently and endeavoring some reformation in the art field. Very few must have noticed it. He never announce publicly how he is going to do it, proclamation was never a part of his self esteemed nature because as we all know he was a man of few but appropriate words. To serve the art and art-field he did not form any group or organization or a movement but walked all alone with utmost desire holding close to his heart, mind and soul and applied his sense of social awareness, organizational skill as well as the capacity to activate it impressively to best possible extend.

If you observe and analyze the phases of his work and journey as a social being you will realize that what so ever he did, apparently seemed benefitting himself but in reality, it also benefitted painting artist community in particular and art field in general. On the contrary his life and works reflect the extent to which he sacrificed himself to uplift the Indian art. Let me prove it by describing briefly the changes he introduced through his work attributing to bridging the gap between artists, their art and public.

(copyright photograph by @Tathi Premchand)

If you remember his work from fifties when art was not a public affair but limited to elite class of the society, you will notice that even during those days he had pure passion for art and art alone. He was painting for art sake. It was appreciated by few connoisseurs who would sometimes buy it for their personal collections. But very soon he realized that this would not help art and artists’community in true sense and therefore he must have decided in his heart to take art to the public at large.

By that time his other major companions, Raza, Souza and Bakare, from the Progressive Group had left India and settled abroad. Had all the progressives stayed here, their presence would have laid the foundation for the culture of art in our country. (In Europe the inventors of isms and movements did not leave their establishments which has helped their culture of art get rooted in the very soil that proudly upholds their contribution for many centuries) The history of modern Indian Art would have remained on the lips of the public and not buried in the history which after fifty years is excavated in pieces with wrong motivations.  So Husain alone took the responsibility to lay such foundation without proclaiming it, and since then his work, his approach, his behavior in the public changed. He painted horses; he painted generic subjects, even marriage cards and wooden toys; but of course, not in a traditional manner but with a conviction and style adopted by Progressives.

Nothing was forbidden to him. His fingers always fleeted and his eyes were sharp and penetrative. He had known the magic of becoming one with the matter he perceived. He used to invent new methods, mediums and subjects that would create sensation in the public. In seventies a devastating cyclone occurred in Andhra Pradesh and he took a giant emotional leap to go closer to Indian people. He exhibited brilliant paintings which had made a lasting impact on Indian mind and it had served his purpose of making art communicate with masses to some extent.

Then came the period of Emergency and he openly supported the then Prime Minister Mrs Indira Gandhi by painting three huge canvases dedicated to her vision and spirit. By then he was already in the lime -light but this venture of his put him under constant focus.

(copyright photograph by @Tathi Premchand)

Later on he did many experiments with his art and environments, carried on stunts in the public places like walking bare-feet which at one time prohibited him from entering a five star hotel, white- washed his own works thus, astonishing the public. When hunters were killing wild animals he tried to save them in the form of his painting. He kept giving exotic interviews from time to time which would lead to gossiping. Then onwards he constantly remained in the news. He did everything he could do and all that lead to attracting masses to his art and art of others too. But frankly speaking, his vision for classical art and passionate involvement in his personal idiom suffered a setback. He became a popular artist of the masses. Today almost every Indian knows him.

This man of conviction and commitment could have easily worked just for himself and produced comparatively less number of works and enjoyed the coveted place of a genius. He himself knew it and that is why a few years back, while commenting on Gaitonde he said "Gai is genius, I am just popular." This very statement is also sufficient to prove that only genius can recognize another genius. But genius of Husain preferred to be popular aiming to make art popular which has ultimately helped other artists and their art to become popular.

I also know that Husain had taken with him buyers to art exhibitions of young artists and convinced them to buy artworks. It will take time for us to realize what we would greatly miss without him today onward and what we didn't realize during his lifetime.

Today we see that large numbers of appreciators are attracted towards art in the country, it’s mainly due to him and this is the worthless contribution of an one man army called Husain.

An artist who began his passionate journey in art by painting cinema posters and raised himself to the status of a legend.

I am fortunate to meet him on several occasions and witness him painting and watching his brilliant work in my life time.

I salute him from the very core of my heart!

- Prabhakar Kolte

Residencies

 

http://gasworks.org.uk/residencies/info.php

Urgent call for artists in residency in the Finnish countryside, August 20 to 31

Contact:
Miss Sanna Tossavainen +358 (0)40 773 4897
Mme Jaana Salo +358 (0)44 313 5555kattilakoski.osuuskunta@gmail.com
http://kattilakoski.wordpress.com/

Residence in Morishita Studio

http://asianculturalcouncil.org/japan/residenceinmorishita

The Indian Dhobi Ghat

Food Art….Invoking philosophical reasoning and creative output.

Food Art….Invoking  philosophical  reasoning  and  creative  output.

Pankaja JK.    

“In India people most people die not due to lack of food but due to over eating of food…”

This is no scientific analysis or report on World Food Survey.; but just a moment of thought given to most basic need of every living being- it is Food. Do we need food only to keep our body working or is there more profound importance of it in our life? Thinking about this I found very interesting answer to this bizarre question. Food has more than physical responsibility- it nurtures philosophy of life. There are basically two different categories of food that are necessary to fix and achieve the meaning of life. First is the ‘actual nutritional diet’, second is the ‘thought as food’.

After Industrialization the food habit of people especially in urban area changed rapidly. The trend of processed, packed food developed rapidly. This trend still continues and it has become a part of everyday lifestyle of people all over the world. Technological progress is not the only reason for this changing habit. There is a sly politics behind making people addicted to such habit. Establishing international market and earning foreign currency is the main aim of politicizing of food. In fact, Food and Beverage Industry is prospering day by day. There is a competition in luxurious and stared hotels to present food with attractive garnishing. We can simply call it ‘food modeling’! This food is advertised as very healthy and safe, ready to eat food but in reality it is devoid of any nutrition and it is more harmful to body. Comparing today’s people to early generation we find more and more of them suffering from physical ailments due to faulty food habits.

(Title: I roasted papad on iron, c - print on aluminum.     By Prashant Hirlekar)

But the second category of food is common to people from all walks of life and that category is ‘thought as a food’.  Civilizations have developed and perished but one thing common in all civilizations is the haunt for food by every surviving soul. Speaking of mankind it has not only been for satisfaction of hunger but for development and progress too- it has always been food for thought. There is a very interesting proverb in Marathi which sums up the basic need of life – Pot lagle pathishi…phiravito desho deshi…. Which means- Stomach/ hunger/ need for food follows you (is behind you?) and makes you go places in search of food. When the basic urge of food is satisfied man is able to think beyond survival, he is able to think and move on progressive path. The food that is mentioned here is food that a man needs to develop in his field of interest. For example, a painter needs inspiration, scientists needs evaluation, a writer needs stimulation, freedom fighters were lured with the thought of gaining independence for the country,  a laborer is nurtured by the thought of worrying for his own and family’s survival and so on.

Every kind of thought acts as ‘food’.  Speaking of art community, Food has been subject of many artists; creations. Food has depicted elements in nature, food has represented hunger and vice a versa and so on. Artists have used food stuffs symbolically.

Out of many such creations, installation one that has emotional touch is the artwork of Prashant Hirlekar, a passionate artists who is inspired by household things, imprinted his favorite ‘Istri’ (Iron) in the shape of a papad (wafer) on  aluminum base. He told an interesting story behind this creation, that during his college days while staying as a paying guest, he and his other artist friends would have party in anyone friend’s room. But since during those days paying guests were not allowed to keep gas stove, it was not possible to prepare any snacks in the room, so he and his friends would heat the iron and roast the papad by keeping hot iron on it. This nostalgia has turned out as a memorable creation of Prashant. 

(Title: Red chilly:  archival print on paper  by  Vishwanath Math.)

Artist Vishwanath Math has been dedicatedly involved in exploring the depth of mundane things. His ‘Mundane’ series is his curiosity to search abstract forms and shapes giving some meaning to it. His photographic skill can be easily felt when we observe chilly and curry leaves kept on the steel plate. There is nothing unusual about it. We see it everyday, but the way he has shoot it, makes it seem mouth watering, though if we eat it raw as seen in photograph we would have watering eyes along with mouth! 

To sum up, there is no alternative to ‘food’ and important aspect of social, political, philosophical and aesthetic scenario of the world.

-         

F A C E TO FA C E –Mumbai : artist interview – 1 by Pankaja JK

Istri- Series of painting by Prashant Hirlekar.

(Artist: Prashant Hirlekar, Photograph by Vishawanath Math)

Pankaja JK (J.K.) in conversation with Prashant Hirlekar (P.H.)

Following is my tête-à-tête with artist Prashant Hilekar who has the knack to give extra ordinary philosophical and mystical touch to most ordinary things or to put it rightly- Unusual and exceptional use of devices used for household needs, represent creative output of an artist as an individual creative thinker. The subject of his latest series of painting is ‘Istri’ or Iron. The device becomes unique thing as Prashant shapes it according to his creative instincts. Peep into his psyche and read his interesting visual and intellectual indulgence. 

J.K .  1. What inspires you to use household commodities as subjects of your paintings?

P.H: Man made objects that we live with, are representatives of time in which we live. It talks about the lifestyle we live during that period. I am going ahead to use the same man- made appliance to create my art works. Unusual and exceptional use of this device stands for creative output of an artist as an individual creative thinker.

An iron stands for disciplinary, well- presented but compulsion oriented habit of human being. We are unknowingly hooked to such things which can never be important and necessary in its basic forms e.g.: chappals and shoes that we wear are indispensable man made objects for city people. If we go to villages, most of them don’t wear chappals, though roads are smoother here in city .We are more conscious of our social image and status. We are conditioned to rely on other people’s opinion. I live in city where millions of people wear ironed clothes and go to office early in the morning; it’s as if they are fitted on conveyor belt, produced under a wish of collective mind. I use iron unconventionally to create my artworks.

When I burn canvas I get immense pleasure, like that of a magician who performs magic. It is a pleasure of directing nature or seeking nature’s help to support your request and to get this final natural desired effect of burning.  Even though burning has negative connotation, I take up this as a challenge and convert this into positive aesthetical statement of an art by adding colors and forms related to it. The whole combination of negative and positive balances me on the equilibrium of my thought process at the same time. When I think of iron, it delineates the same meaning of human body which emits heat within. Heat in the body has a strong relation with a negative thinking followed by negative energy which is blocked in some part of body. After emitting heat when body comes to normal it continues with free flow of energy. The similitude of iron and human body employed me to produce this series of painting. Iron has a aero-dynamic shape where two points meet at one vertex, where it creates the arch- like shape of iron; similar  shape we see in churches and other holy places and I feel this is a gateway to spiritual space; Spirituality that keeps on haunting and tapping a door of every individual.

An act of ironing itself is a spectacular act for me. The way iron moves while pressing clothes is a composition in itself. A laundryman who comes from Uttar Pradesh to Mumbai for his survival finds a small shop or a table. There is a peculiarity in the way he keeps iron on the piece of asbestos sheet and a wire coated with cotton cover for insulation goes towards the electric meter box where there is a red bulb and a God’s photograph; blessing him and energy emitting from his palm makes a picture perfect to get inspired from it. Piles of clothes ironed and crumpled before ironing and after effect of clothes has been amusing for me- It represent human personality which is crumpled and later on well presented with ironed clothes on. I see a veiled man in it. These clothes are generally ironed for office goers which are light in tonal values with stripes or checks on it and a woman, who is his wife lives with him there in that tiny space covering her whole face & body with a bright colourful sari with flowers on it.  This whole contrast shows the importance of this business. It talks several things about human life in a nutshell and his continuous act of ironing is a similar practice of Zen master who keeps on repeating things to witness the energy within; which is again centre of interest for the artist

J.K.  2 .Were you always inclined to be an artist? What inspired you towards it?

P. H.  I am not only inclined to be an artist but I am following a source which is directing me to be an artist, to witness life and influence of art on it. It is an inspiration or may be the way I develop to look at it over the years has been guiding force and inspiration to paint

J.K. 3. Huge installations are trendy; do you plan to venture this genre?

P. H.: Installation is not trend but it is a need of an artist to extend his vision while he lives in this world. His life is full of visual experiences connected to brain which emits certain chemicals to give pleasure and it is an immediate need of an artist today. I have been doing installations but I don’t pre-plan because what happens at the very moment is life, while we are busy making plan.

J.K. 4. Surfing art world on net, we find many artists across the globe creating almost same painting, installation or sculpture. What do you think? Is this copying of art or just a coincidence?

(Iron    12 X 18 ''   installation metal) 

P. H.: Previously it was difficult to get in-depth perspective of art field but now due to internet we can find out if there are any similar creations around in the world; there may even be co-incidences too. But finally it is artist’s own integrity which matters a lot, since this is a journey of self exploration.

J.K. 5 .Looking at the flood of artists from art colleges every year, how would you analyze on art for today’s artist- passion or profession?

P. H.: An artist for whom art is passion need to realize that it is a profession too and for artist for whom art is profession should realize that this is a passion in real sense. But even if it is purely passion, it will certainly bear fruits sooner or later even if he is does not follow professional norms. Finally he has to decide or may be destiny decides this for him.

J.K. 6.Do you think such virtual exhibitions will erase the existence of galleries and curators?

P. H.: Virtual exhibition will be an additional support to artist. Importance of galleries and curators will always be there, as we had books before and we have books even now in spite of having handy electronic media. Finally, it’s whole blooming nature of existence to reach at the peak of perfection.  

J.K. 7.How does city life influence artists? What are the positive and negative aspects of urbanization?

P.H: City life does influence artist. Rapidly changing social political situation tends to influence artist.  Changing social political situation tends to influence on the psyche of urban man. He is bombarded with new change all the time. Rapid change is the only permanent thing in the city. New architectural sites, fashions, interiors, an aesthetical advancement demand artist to fit in the global race; to fit in the new stream. Digital art, Photography, Installation, Video installation ,Site specific works, Gallery performance are the new forms of expressions come forth, some follow as the trend some do it as genuine need. But finally zeroing down to your creative statement attracts more appreciation. Negative side would be being in the rat race of the trend that may deviate from the right direction of inner instinct. Inner journey which witness and creates history sets some milestones in any field. Positive side of urbanization is that works are truly evaluated on global plateau.  It takes you closer to the pinnacle which is indispensable part of any growth.

J.K. 8.Tell me something about your upcoming project and if you have plan to have online exhibition or in a gallery.  

(Iron    8 X 12 ''  wood and metal)

P. H: I have been working on form of iron(istri). Once I focus on one thing, recurrently I find innumerable possibilities within that area. So to streamline patiently following them to execution at the same time witnessing other ideas derived from other forms is a great task. But persistence and consistency has lot of strength and respect. I want to create whole show of installation based on iron. I am hopping to deliver the best from it. I will always like to have online show because there is enough freedom of  selection of works to exhibit, you also have liberty of time, one doesn’t have to follow deadline of the time. Through online show we reach to busiest people in short time, where there is major possibility of appreciation and understanding. In gallery one can see works physically but it is an old form of presentation just as we used to see actual actors on the stage in a play later we accepted their presence on celluloid screen. Advancement of the technology adds convenience to everyone. Art lovers always come to artist’s studio and see the works physically. Gallery would be old form like an opera but still deserves it’s due respect because it invites social gathering and some show must go on there. 

To conclude, I had a conversation with a very unbiased artist who is just engrossed in innovating and developing his creations. After such light talk there was no need for ‘cutting’, a cup tea but in his casual manner he asked me for one and I couldn’t deny it; just thinking of the labour class ‘Istriwala’

more about artist and his 2nd blog show view on :

http://prashanthirlekar.blogspot.in/

Coming soon : Pankaja JK

Art Blogazine by Pankaja JK

issue no 1/ Vol no 1 Jan -2013

 

‘Hop, Shop n Install in Art’- Most contemporary artworks churned out by artists convey a vacuum of conviction, involvement and struggle, finds Professor Prabhakar Kolte.

Part I

I would like to start with my review of some so-called artworks of an international standard.

In one painting a blind man was shown. It was a replicate of a blind man. Just like a blind man he had black goggle on and a belled cane in hand. A super white cane! The lower end of it had a strip exactly the colour of  ‘post office red mark’…there was nothing more appreciable in this painting. As I looked around, wondering who could be the artist who painted in this particular style, I found him standing quietly behind me. He said, “Any comment, Sir?”

I said, “No comments, but I have a query. Can I ask you something?”

“Of course, Sir,” he said.

I asked, “What have you painted?”

In reply he said, “It is quite clear, Sir.”

I said, “Yes, it’s evident who is blind.”

Baffled, he said, “What do you mean?”

I said, “Hey, A blind man does not have eyesight but that doesn’t mean he does not have vision. Truly, you should have painted his imaginary world. Before painting, you should have blindfolded yourself like Gandhari, at least for four days. Then maybe, there would have been no need for me to question you. You have just painted the verbal description of the outer appearance of a blind man. An artist needs a vision to paint the imaginary world of the blind man. At times, it’s easy to paint but hard to achieve vision and only if that happens, the whole world assembles in the artist’s vision.”

After this, there were a few moments of silence.

“It must have taken quite a few days to paint this…,” I asked.

He replied, “Oh no Sir. I have not done anything. I got hold of a student working on ‘realistic paintings,’ told him my concept, gave him the blind man’s photographs and got this done. Of course, I paid a good amount! He completed it in four days. Nowadays, all artists do like this, Sir. It’s the age of Conceptual Art.”

“And do all of them have to paint in a similar manner?” I asked.

“What difference does it make, Sir? People buy them. They like and even understand this art.” He said.

I reminded him, “But you never did this when you were studying in School of Art.”

“It’s alright to do anything in college, Sir, but after you are out of college, there are lots of problems, Sir. There is solid competition. A work done the day before becomes stale the very next day. If you remain behind, you perish. It’s a fast life, Sir. It was different in your times. Utterly romantic! Now there is no time for romance.” Saying this he pushed me back a hundred years. From this it is apparent that in college you do not do anything substantial and even after coming out college you continue doing insubstantial work.

I realized that his ‘different problems’ were not at all related to art. I did not say anything for sometime. Then I said, “Hey, then why did you even make so much effort. You should have hired a model, made him stand here, wearing goggle. It would have been a live installation. Last year, an artist in London tied a live dog to a post in a gallery and left it there to starve… Live till Death. The dog died within few days, writhing in pain but that won the artist the Turner Award.

“Sir, you won’t believe this, the same idea struck me but I did not dare to execute it,” he said.

“Meaning?  You were going to bring a live man and starve him to death!” I asked him with some degree of alarm.

“No Sir! As you said Sir, I thought of using a live model to play the role of a blind man.”

“Time doesn’t forewarn to dare. You have to realize it. Only a courageous person is able to realize this. Duchamp realized it, audaciously he placed a ‘commode’ in the gallery and created history. But do you have any idea how much he must have struggled on the intellectual and emotional planes? Surely not…you read history only to pass examinations. You never evaluate the philosophy of the historical events, you never investigate the reasoning behind those events and therefore that sense of reasoning itself does not project in your works. Anyway, there are no schools where you can learn to dare. If you have a sentient character then you become cognizant and if you are cognizant, then there are chances of awakening your consciousness. But you youngsters are in a hurry to die; everyone wants to enjoy the bliss of death without facing the trouble of living.” I went on blabbering and he went on hearing it unsentimentally.

Truly, the world has changed, and that too so fast that I am still unable to come to grips with it. Artistic experience, self-realization, conviction, reflection, evaluation, criticism and fostering, these words and their meanings, which were heard in the art world till the recent past, seem to have been blacklisted.

Frankly, without getting a visual experience, which is the real proof of art, everyone wants to secure his position in history. Nothing is impossible, now even a place in history would be up for sale. There would be advance bookings for the place and if any artist can promote himself effectively, the sponsor would even buy the place for him in history, of course in exchange of paintings. Brooding over this, I moved on and stood in front of next painting.

I almost felt that the earlier painting was better than this one. Here, numerous shaving blades were pasted to each other to give the ‘feel’ of a five yard sari with pleats, the technique was the same i.e. Imitation. Only, instead of paints, blades were used.

In another work, the artist had copied an old master’s painting Draupadi’s Vastraharan. In place of Dharmaraja, he had depicted himself in modern attire, playing Dhyuta, a game of dice. Naturally, my attention turned towards Draupadi in that painting, and true to my speculation, the face was of the artist’s wife! The image of a modern man playing Dhyuta in the ancient court of the Kauravas was so fascinating that people who had come to Mumbai for sight-seeing on that day curiously crowded around that painting. The contrasting epoch in the painting was entertaining. But the technique was quiet like that of the earlier painting, of Imitation.

The next artifact was possibly of Dharmaraja’s faithful canine. A canine seemed to leap out from the wall. The artist had mounted it so trickily that it seemed the head would fall at any moment. But even after a long time, it did not fall; all the same, the observer could not stop expecting it to fall. The body of the canine appeared so real that it seemed like a cadaver was cleared and filled with hay and hung up on the wall. Obviously, here too the attempt was to make ‘Imitation more authentic than Real’. 

The next painting was nothing but a huge photograph, which was first printed on the canvas with the aid of computer software and then painted. The face in that painting was that of the artist himself. He was poised in the style of a famous actor. Therefore, the painting projected ‘reverie glorification’.

I was a bit shocked by my next experience. A stout cobra lay lethargically in a corner. Though it looked real, it was a painted fibre cast and a board was kept in front of it with a warning: ‘Do not touch, it is real.’ Thought guessed it was artificial; the board created a dilemma. But that too did not last for long. It reminded me of painter Rene Magritte and his painting, ‘This is Not a Pipe.’ He had painted a smoking pipe and had written below it: ‘This is not a pipe’.

Whoever has read the comments of Michael Foucault on the philosophy of this painting of Magritte’s, must have observed the great difference between Magritte’s intellectual nobility projected in his painting and the proof of frivolity presented in the board of caution kept in front of the cobra. The creator of the cobra must have seen Magritte’s painting but instead of attempting to understand its philosophy, he simply placed the cobra in place of a pipe. The artist might not have meticulously observed the disparity of a visual and its subtle connection to the word, ‘pipe.’

The next sculpture was that of a standing hippopotamus. It was made totally out of buttons. It was just like the sari made with blades. In our childhood, in order to familiarize us kids with different kinds of cereals, out teachers would give us assignments to cut cardboards into different shapes like human, flowers, leaves, animals and birds which we found in our environs. Then we were made to paste different cereals on the shapes and decorate them. Memory of that activity, which was both entertaining and informative, inspires amazing happiness even today. Coincidentally, a group of small children had gathered around that button sculpture!

One artist had joined numerous toy spouts and created one similar big spout.

Yet another had sensed Gautam Buddha’s head in a tree trunks, so he had cut that part and installed it. On the part that looked like a head, he had painted the meditative composure of the Buddha with partially closed eyes. In spite of painting the Buddha’s eyes, there was not even a rare chance of any change in the vision of the artist.

In one of the assembled artworks, dining plates, which are otherwise laid on the table, were served with real food and placed under the table. One artist had got a fibre cast of a nude human figure, arranged lights inside it and suspended it from the ceiling. Another one had collected real human hair, sandwiched it between two transparent glasses and placed it on the wall. On the front glass at the lower end like a tag line he had given the information in minute handwriting about the parts of the body from which he had taken that hair. It was almost a hairy geography of human body!

In one of the paintings, the human figures were painted as in South Asian leather puppets, and modified. The dressing style came in for considerable alteration, with goggles on eyes, wrist watch on wrist and Nike footwear.

One artist had got hold of a rocking chair and pasted a football on top of the backrest, spread some rags around it and attempted to make a scarecrow. If he could have made some arrangement to rock the chair involuntarily, then the birds might have been amused. But due to the lack of a basic urge to develop ‘artistic enthusiasm,’ that modern artwork remained merely a toy and could not excel beyond it.

Next to it was a revolving lantern, like the ones that were seen earlier during Diwali. The only difference was that it was very large. On its inner circular staff, human effigies were cut, which with the help of light from the centre of the lantern, left their fearful shadows on the outer circular staff. In earlier times, lanterns would convey a sense of respect being offered to Light. But here, the lantern of the past was very maliciously reincarnated and it also made us realize the extent of the busted ideology of that artist.  

The next artwork cum installation was a candid eight-feet-tall drinking glass. It reminded me of the glasses in which water was served in the past in Iranian restaurants. Iranian restaurants slowly closed down, the glass became big, antique and orphan too! This artifact inspired similar thoughts.

When I came out of the exhibition hall, I was quite tired. My mind was blank, the flow of thoughts receded, but still the waves of questions ebbed and flowed in my mind.

I thought that what we nurtured as a hobby during childhood and did as assignments as art students, when we did not have the remotest idea about whether to label it art or craft, all those things are present as art today. After an introduction to art, whatever little imitation was done, the same or similar kinds of professional imitations are displayed as art in a gallery. Why should artwork displayed in a gallery be called a work of art? Is it just because they are made by famous people? What is the relation between famous people and artworks? What actually happens when artists become famous because of artworks? What modifications take place in the relation between the artist and his art? What do artists expect from art? What does society expect from artists? What does art expect from artists and society? Artists can speak, society can be vocal but art is dumb, so should its disability be used to be atrocious with it? In art anyone can do anything, sell anything, buy anything and there is no more agonizing issue than this.

Part II

Almost all artists start their careers by imitating artworks, and we have numerous examples of this. But there are only rare instances of them coming out of this imitating phase. And the veiled wish to acquire fame speedily, just like the creators of the famous artwork, adds to this inability. Therefore, instead of ‘developing an idea,’ ‘finishing an artwork’ gets more importance. The artwork-making process has one secondary aspect that is technical knowledge, which is conventionally nurtured and replicated. As a result, due to the cumulative attention to technical perfection in the creative process, the purpose of the artwork gets trapped in this technical aspect and suffocated. Therefore, artists developed the custom of getting suffocated and suffocating others too. It is not enough for an operating surgeon to know just the technique of dissecting the body. He should also know which part of the body, how much and why to dissect along with the knowledge of ailment that has to be treated. Obviously, there is a difference between operation and post-mortem. Likewise, sensitivity is necessary for an artist while creating an artwork. In creating an artwork, technique has to be applied and even the purpose has to be projected. But now because of the superfluous hypocrisy of technical skill, Technique has become more important than Art.

As a result, the already existing tendency of the artists to do the work has got preference over observing the work. This has also affected society, which is more interested in knowing how the artwork is created rather than what is created. Naturally, the material used in making an artwork, its strength, quality and size, its durability, artist’s bio-data, his status, all these aspects are now considered important. And due to this, instead of the Value of art, the Price of artworks has stabilized at the core of the art deal.

Price means Value — contemporaries have given this convenient meaning and firmly rooted it. And the artists have got used to making nice, durable, successful and especially ‘beautiful’ artworks. Instead of creating art, the tendency to produce art has spread rapidly. And from that, the journey of art has left the art world and reached the art market, from where it has further strayed into the art business. The speed and expanse of straying increased so rapidly that it got associated with world trade. It became Global.

Global themes started projecting in the artworks and that too related to events from Middle and South Asia, Europe and America. And the reasons behind this were also considerable. A wealthy American declared that he would invest $7,000 crore in buying ‘socio- political’ themed artworks. Instantly, artists started producing artworks based on that theme, but that mischievous person might have played a wicked game with the artists, because after that announcement, nothing more was heard about him.

But the effect of his announcement was quiet visible. One of the paintings even became very popular. The artist was moved by the life of a woman of a particular sect shown in a famous West Asian movie directed by a famous director. He visually presented his thoughts on the saga of that woman. In our country, every hour women face hardships. Women have to live apprehensively in exploitative and painful circumstances. This Indian artist never saw the situation of these women as global. Why? Is it just because no famous international director ever made a film on them? Is this what is called freedom of expression? Is it the right to reject that which is not saleable? It’s like no sorrow over mother’s death at home but an international heroine should not die. What an obnoxious psyche! Such a psyche is tolerated in our country. Many paintings of that artist were sold. He became famous within a short span of time. A theory to become famous faster developed from this selfish approach, simply place famous personalities in your paintings and your road to fame is clear.

In our country, during the seventies, one of the senior artists had plotted this way and now it is apparent that many artists followed his path. Such rapid-success achievers had raided Gandhiji’s character a few years back. Gandhiji sitting with Jawaharlal Nehru, in conversation with Vallabhbhai Patel, spinning yarn on the  charkha, following a little boy  by holding one end of a stick, the other end of it being held by that little boy, walking with arms resting on two young ladies’ shoulders, bending to lift the salt etc. Such frozen moments from Gandhiji’s life were painted. One artist painted Gandhiji’s words ‘Hey Ram’ which he had uttered in his death bed. The artist had given a particular shape to the sound of words ‘Hey Ram’ and presented it visually. The painting showing Gandhiji lifting salt had raised price of salt at that time, so once more the signal for Satyagraha over salt reverberated across free India! But since only Gandhiji had the right to conduct Satyagraha and as it ended with his death, salt became costly and went on becoming more costly. Nowadays, due to land acquisition, the salt labourers are ruined but the artists never feel like making a painting on them. This is the tragic end of Gandhism.

From this, there can only be one conclusion: To gain publicity, it is necessary to be in touch with famous personalities through paintings. Greatness, fame, success, all these are magnified terms nurtured by established and worldly-wise artists. And to achieve these, struggle with artworks and compromising on exaggerated concepts has become a part of the daily life of today’s artist.

To give Gandhiji a breather, one artist painted a series on men and women of Gandhiji’s times. Those paintings were painted in the style of movie hoardings. Watching them, a student asked me, “Sir, if these hoardings should be called paintings then what should actual hoardings be called?” I said, “Until someone brings them to a gallery, till then call them hoardings.”

Part III

‘To Survive’ and ‘to Live’ are two different angles of viewing human life. Of the two, in today’s detrimental world, survival has hogged a lot of importance. A tendency is developing to make the process of survival more comfortable, happy, stable and having status. Therefore, in a society which equates survival with living, life’s principles are based on the benefits of money, status and fame. Due to the habit of leading a financially and socially safe life, the adventurous spirit necessary for exploring novel paths of life seems to be receding with every passing generation. Therefore, the narrowly contented, middle-class, working category is on rise. As a result, society seems to be developing a ludicrous attitude. It is therefore no wonder that the artist who comes from such a society is also ludicrous and sly due to generations of experience.  

Such a society faces a recurring question at every turning point: ‘What next?’ Creating art is a subjective matter, where modes of earning are quiet rare. Therefore, after completing one’s education in art, the very first thing, the struggle to Survive, suppresses the artist mentally, intellectually, emotionally and morally. In search of ways to earn, the artist himself, knowingly or unknowingly, falls prey to various pressures, starts compromising and goes on developing unexciting attitudes. He does not even get the expected moral support from his family. So, in spite of being with everyone, he is still lonely. Frankly, sacrifice, struggle, confusion… all these things seem funny to him.

(Digital artworks by Tathi Premchand)

But this is the right time for him; to mould himself according to his own will and turn in the right direction. Much like seeds that need to be sown in the right season to grow into plants, this is the right time to sow the principles of life in one’s own personality. Once sown, these seeds need to be properly tended to yield the right results. But in our futile and gluttonous society, the number of such artists is very few and that is the stinging truth. Therefore, in such society, selfish, opportunistic, self-centered approaches do not stop budding. As a result, the process of enriching cultural treasure and passing it over to our next generation has been all but busted. There is a vacuum of a thoughtful and morally supportive cultural treasure.

The artist turns out to be lout and of yielding nature He starts feeling smug by treading the set paths. Like in the West, the inspirational or enthusiasm booster ideology did not develop here. And due to the lack of thinking capacity in artists, the modern philosophy of visual art is failing to gain prominence. As a result, the number of mediocre artists making a career out of art is growing day by day. Artists are attracted towards popular art. Therefore forget ‘Art for Art sake,’ even the ‘Art for Living’ aim has suffered a setback. ‘Art for the People, for the Entertainment of the People’ is ruling; such assured means of a monetarily profitable option is seen to be chosen by the artists.

The category of artworks that I mentioned in the first part of my article is based on this option. In such a society, along with the others, even artists seem to be in hurry to become rich and acquire luxury. In their hurry, valuable help is provided by the computer. But instead of making the computer their slave, artists themselves have become slaves of the computer. While they kept on saying ‘Seize the world in your hands,’ they themselves do not know when they got clutched by the computer. A pin- code became their identity in the global race.

Part IV

The artworks that I described in the first part of my article, all those artworks are just Ideas for me, sheer Aborted Ideas!

Thinking of an idea, deliberating over it, visualizing it and sometimes purposely, or at times with natural inclination, developing it… This process is not followed by the artists. Instead, I find that artists are inclined to Imitate their ideas as it is. What’s the point in copying the image which is already set in mind and formed by uniting two different types, shades, shapes and faces?

Twenty years ago, an army officer would send his juniors to the jungle and make them cut those parts of trees which he saw had shapes of human, animal, birds, flowers and leaves. He would get those portions cut and sent across to his bungalow. After further processing of that lifeless wood, he would technically perfect them and display them in a gallery on pedestals that were more beautiful than the artworks. I remembered him and realized that there is no difference between his mediocre view of art and the so-called today’s contemporary artists’ modern outlook. The time has come for the artists who tag their artwork with terms like Post-Modern, New Wave, Off Beat, Different, Creative, and Most Contemporary, to do some self-assessment. The recession period in the art market must have emerged for this. If they do not strictly do their self-assessment, then time would never forgive them. Not only that, they may not even get another opportunity.

Besides wishing them well, I also want to tell these artists: If you are settled in the art market, then it is difficult. Some kind of instability is necessary for an artist. The apprehension about the future, the life from which painting is comprehended, blossoms, unfolds, and the attraction that develops towards leading a life, towards trust and self-confidence, makes you strong. Strengthened hopes due to getting less than expected, and a sincere yearning to present something visually that is totally related to you and that persistent wish go on all these things forge you. And if all these aspects that are vital in creativity are missing, then life itself would be unexciting. Then forget creating an artwork, you would not even be capable of recognizing it. The rise in the art market in the recent past has done a good thing, it has blurred the difference between classical and commercial art. But at the same time, the bad habit of calling commercial art ‘classical’ has become an established practice. It has done a grave damage to Fine Art by promoting only commercially viable art, establishing salable art as true art. It is like nourishing a leech instead of original tree on which it grows. 

Truly speaking, philosophically, human creativity is like an ocean and the waves arising in it are the various art forms. Only for our selfish convenience do we give them different names.

That which is closer to formless is ‘immortal’ and that which is away from it on the other end is ‘mortal.’ And the various attributes of these two contrasting yet attracting characters are the supreme visual luxuries of original creativity. Which attribute one should adopt depends on the taste of the individual and that choice is a basic freedom. To safeguard this freedom, one needs a conviction and a wish to involve in the selected attribute. And the expressive form of this unyielding wish is artwork. In today’s international world, I would deliberately like to mention two artworks in which we find this hearty involvement. One of them is Joseph Beuys’ Tram Stop and another one is  Anish Kapoor’s ‘S’ Curve (this was exhibited recently in India). My thoughts, presented in this article, are highlighted by these artworks, which project the said artists’ philosophy of art, which are contemporary and have an intellectual perspective because of their involvement in the attribute that they selected.  

In Joseph Beuys’ Tram Stop, the feel of initially slow but rapidly increasing visual vibration makes us realize his complete involvement in the assembled art sculpture. This is the first installation of the art world. The ground is dug up and an iron pillar is erected at the centre, with head carved in wood (of artist himself) placed atop, stretched tram rails lie on the sides and the water connection under the ground is joined by a tube to the rail above the ground, all these settings meet in a cusp as we find human bones peeping out of the excavated mud. It reminds one of Europe’s political history, memories of a tyrannical past flash by. The dust of numerous houses ruined in the World War and the victims, whose blood had seeped in their own motherland, are symbolized by the wet mud and the bones, the tram rail is a metaphor of eternal speed; and the erected column at the centre and the presence of human head atop, together constitute this one installation. That is why though it is Beuys’ autobiography, it does not remain so, it becomes general. It’s as if Europe’s entire past rises in the form of that column and waits for tram. People come and go but the tram stop permanently awaits the arrival of the future and so, just like itself, the Stop also makes the observer stand still.

  

The magnitude of Anish Kapoor’s huge, attractive stainless steel artwork clearly indicates that it  was not made manually, but moulded in a factory. Nevertheless, Anish’s fastidious supervision acts as a cloaked tool, guiding it meticulously to its precise form and striking finishing. The shine, quality and worth of the steel used in making the sculpture are witnesses of the artist’s conviction. The huge form of the sculpture and its accommodative quality, which integrates it with the surrounding environment, along with the human verve, mesmerize us; while experiencing it, Anish’s unlimited powerful ideas and intellectual wisdom amaze us. Along with live human beings, the surrounding animate and inanimate objects are entertainingly mocking. Without seizing their freedom, the artist transfers his extraordinary imaginative power into the sculpture’s matter. Without compromising on magical skill or quality, he gives protruding shapes and curves at proper places and in proper proportions. Therefore, as we observe the sculpture, so does it observe us and the innocent joy of observing and gazing is experienced by us in a very childlike manner.

I regret to state that, today most of the art forms look like artifacts, they are forms without aesthetic content because the artists do not ‘think art’, they ‘make art.’ Basically, artists need to express visually through colours and content which should create a vibration in the observer, who should feel the painting. But now, artists fail to create that stir, they do not communicate visually, so they need to explain their artwork in words burdened with personal philosophy. The paintings are written with colours and forms and sculptures with readymade objects. They make, assemble or manufacture art. I really don’t understand whether they themselves know what they do and why they do whatever they do.