Artist Manish Nai, Gallerist Dadiba Pundole, Professor of Architecture, Mustansir Dalvi and Cultural theorist Ranjit Hoskote

It is time once again to look at our current exhibition "Ram Kumar: Works in the Jehangir Nicholson Collection" from different perspectives. Our next event - 

"The Futures of Abstraction" -  a panel discussion, gives us the chance to do just that.

Artist Manish Nai, Gallerist Dadiba Pundole, Professor of Architecture, Mustansir Dalvi and Cultural theorist Ranjit Hoskote will explore the potential futures of abstractionist art, which has a substantial presence in the Jehangir Nicholson Collection. The 20 works of Ram Kumar that Nicholson put together over the years, are a wonderful example of this. 

Do join us on the 29th of July, 2015, at 5.30pm. 

Tea will be served at 5pm.

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Today's Artists- Cartoon 

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join us for the screening at the Visitor's Centre, CSMVS, on the 23rd of June 2015, at 5.30 pm. Tea will be served at 5 pm.

The Jehangir Nicholson Gallery, CSMVS, will host the first of its events planned around the current exhibition at the gallery, Ram Kumar: Works in the Jehangir Nicholson Collection.

Ram Kumar, Nostalgic Longing, explores the philosophy, the views and the life of one of the country's most renowned abstractionists, connecting it to his astounding body of work. The documentary is part of a series of four films made by the French Director Laurent Bregeat, on India's modernists.

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Overcoming Loss...

Before one touches down at any of the two airports, dinghy houses with roofs wearing plastic sheets is the first thing that one can notice. Some 100 kilometers off the metropolitan limits, Adivasis in Tansa and other protected forest areas use these very sheets as a rain cover on their bodies. Thus in the regional context, a single large sheet pf polymer is a ready-made object primarily used for protection. SmitaKinkale knows the purpose and usefulness of these sheets, and her larger artistic project has been about replacing the function, purpose and utility with an aesthetic statement.

Recent Artwork by Smita Kinkale

With her own upbringing in Tansa forest area as an Adivasi girl, she remembers moods of the forest, the many rain-flowers that punctuate meadows that go green in monsoon but would turn golden brown in October and show the bear black soil in summer. While these wildflowers and monsoon orchids could have been a part of her imagery, she chooses to negate many aspects, including the use of colour and canvas.

 

Artist : Smita Kinkale

Arguably, it is not a coincidence if a viewer, looking at Smita’s work, is reminded of Jackson Pollock’s “Lavender Mist”. Some may think of the red work as a Gulmohar or others might think of it as bougainvillea, yet others might not think of any flower but will arrive at a joy of witnessing the red abundance. Same with the blue works that delve the viewer into aquatic ecstasies, or the white works that reveal a riot of colour.

Such experience is elusive, and the presence of the material overtakes it. This is the precise moment when one arrives at SmitaKinkale's work. As an artist, she does not celebrate nature or even her past. Instead, the works seem to be asserting the human capacity of overcoming loss by reconnecting the present and absent in passage of time. 

Recent Artwork by Smita Kinkale

Smita’s art-making practice looks differently at the notions of craft and artistic intervention at one end and the conceptual context of “the ready-made” on the other. Spreading the plastic sheets on one another, welding them to make a multi-layered picture-plane and then excavating hidden layers from the picture-plane are studio processes that define her intervention that is intrinsically artistic. She chooses the layers that inform each different picture-plane, and with some defined cuts with a knife or scalpel, she operates one the picture-plane to make her clues visible. The cuts often resemble with the primitive art-making practice. A triangle is repeated not as a geometric form, but as an abstract unit that gives way to other forms. 

To be sure, the work negates bipolarity of urbane and primitive, of organic and inorganic, of presence and absence.These works pave pathways to a multi-layered experience. The works make us aware of the realms of memory and reality that cohabit

in our senses.

Abhijeet Tamhane,

Mumbai, summer 2015.

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'Ram Kumar - Drawings from the 60's' at Gallery 7 Multiple Happenings in a Meditative Space

The legendary artist Ram Kumar needs no introduction. An equally legendary conceptual solo show of Ram Kumar's drawings from the 60s will be displayed at Gallery 7, Kala Ghoda's favourite art space starting from 8th June, 2015 onwards. Done in pen and ink on paper, these paintings have a mesmerising presence with a substance which touches our heart and mind the moment we fix our gaze at them. The lines have an immediacy of their own and they start taking us to a journey and alert us with each drawing enabling us to be experience a visual delight.

'Ram Kumar - Drawings from the 1960

The drawings belong to the celebrated Varanasi Phase of Ram Kumar's career which transformed his figurative period into a non representational one. His paintings move towards abstract landscape forms and images. Yet, these drawings of the same early sixties period have a different tale to tell.Some of the drawings shows the traces of architectural constructs and some images, shapes and figures immerge in certain drawings, some contain a geometrical familiarity but even this has a germinal essence of their own.

Ramkumar says that, "An artist shows the entry point to his creative world and the rest depends on the onlooker, what he sees, feels and interprets. He has to make an effort to find for himself what he is seeking and what the artist wants him to see."Ramkumar has in fact created here a meditative space by the use of lines, where one can also build and re build ones own space to ponder over ones feelings.  For Ramkumar, if the Varanasi phase or that period has been a turning point in his paintings, it has been no less an inspirational period, for his drawings, which came on their own magnificently: giving him an 'expressive way' to grasp and say certain things, which could not be transmitted by his paintings.

Gallery 7, Kala Ghoda Mumbai- (Courtesy: Mid-day)

These drawings independently and intently, have unique flavour, and flair within the oeuvre of Ramkumar.  To be with them is to be with serene, calm and sublime feelings, and is to enter space, where multiple movements, gatherings and sensations are awaiting us! 

Title: 'Ram Kumar - Drawings from the 60's' at Gallery 7

Date:  8th June 2015 onwards

Where: Gallery 7
G 3, Ground Floor, Oricon House,
12/14 Rampart Row, K. Dubhash Road,
Kala Ghoda, Mumbai 400 001

Days: Monday to Saturday , Sunday closed. 

Timings: 10:30 am till 7:00 pm

Contact: +91 22 22183996; +91 22 22189520

Please contact Raena on 9920857444 for all media queries.  

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अशोक हिंगे यांची - सजीव रेखाटन - चित्रमालिक

कल्पकतेला सीमा नसते, कुठलीही गोष्ट प्रेरणा स्त्रोत्र होऊ शकते किंवा कुठेही प्रेरणा मिळू शकते. त्यासाठी फक्त कलाकारी अन्तःप्रेरणा असली पहिजे. चित्रकार अशोक हिंगे आपल्या चित्रांतून हे सिद्ध करतात. आपल्या  'सीरीज ऑफ डेली लाइफ़' द्वारे ते कल्पकतेने सांसारिक नित्यक्रमांचा सम्मान करतात. छोट्या शहरातून आलेल्या अशोक यांनी छोट्या आणि मोठ्या शहरातील भिन्न जीवन शैली अनुभवल्या आहेत. त्यांची  हे मोठ्या शहरातील जीवनचर्याची चित्रं, ते सध्या जिथे वास्तव्य करत आहेत त्या सामाजिक जीवना बद्दलचे दर्शन घडवते. ते बऱ्याच वर्षांपासून मुंबईत रहात आहेत, ह्या शहराचा एक भाग झाल्यामुळे, ते ह्या शहराच्या वेगवान गतीने जगण्यास अभिप्रेरीत झाले आहेत. ह्या धावपळीच्या जंजाळात नजरअंदाज केलेल्या हलक्या फुलक्या क्षणांना ते अवगत करून आपल्या चित्रांत जागृत करतात. आपण दर्शक जेव्हा हे क्षण चित्रांच्या माध्यमातून बघतो, तेव्हा आपल्याला कुठेतरी आपण त्या चित्रात आहोत अशी जाणीव होते. ही चित्र आपल्या आठवणी ताज्या करतात आणि अशी उसंत वेळ मिळण्याची इच्छा  जागृत होते, कारण अशाच क्षणांच्या आनंदातून स्वतःला स्फूर्ती  मिळते. साधारणतः चित्रकार चिंतनशील, असाधारण विचार किंवा लहरी प्रमाणे चित्र रेखाटतात, पण अशोक हे वेगळ्या पद्धतीने म्हणजे पांढऱ्या कॅनवास वर काळ्या इंकने वेगवेगळे हालचाली टिपतात. जसे कि प्रेम करणारे, वेगवेगळे खेळ खेळणारे, वाद्य वाजवणारे, नाचणारे, चिंतन करणारे, मेहनतीचे काम करणारे, विश्रांती घेणारे, रेल्वे प्रवासी, कॉफीचा आस्वाद घेणारे, ऑफिसमध्ये काम करणारे आणि परिवाराबरोबर हसत खेळत असलेली नाती  दर्शवितात, हि चित्र दर्शकांना वेगळ्या शैलीमुळे मोहून टाकतात. हि चित्रमालिका म्हणजे एक प्रकारचे रोजच्या दैनंदिन जीवनाचे दस्तऐवजच आहेत.  

अशोक हिंगे यांची  - सजीव रेखाटन

         

अशोक मान्य करतात की हा विषय आणि ही शैली त्यांच्या चित्रकार म्हणून प्रगतीची वाटचाल आहे. पूर्वी ते विशेष आकृत्या रंगवीत असत. त्यांनी निम-अमूर्त निसर्गचित्रंही रंगवली आहेत. सुरुवातीला ते सुलेखन (Calligraphy) करायचे आणि त्यामुळे त्यांना काळ्या रंगाच्या स्ट्रोक्सचे आकर्षण आणि प्रेम आहे. रॉबर्ट मदरवेल हे त्यांचे आवडते चित्रकार कारण ते मोहक स्ट्रोक्स काढत असत. मार्क रोथकोची किमानचौकटप्रबंधक शैलीचेही ते अनुसरण करतात त्यामुळे त्यांची चित्र साधी आणि आकर्षक वाटतात. सतत काही वर्षांपासून ह्या शैलीवर लक्ष केंद्रित केल्यामुळे आता त्यांचे स्ट्रोक्स सफाईदार झाले आहेत आणि त्यामुळे ते आपल्या आशयाचा सार खऱ्या अर्थाने साध्य करतात आणि सामान्य विषयाला अद्वितीय करतात. ही  शैली फक्त त्यांच्या सध्याच्या चित्रांतच दिसते असे नाही, त्यांनी केले इन्सटोलेशन, ज्याची त्यांच्या मित्रांनी खूप प्रशंसा केली, ते म्हणजे, 'गुरु शिष्य'  इन्सटोलेशनही ह्याच शैलीतले आहे. अशोक हीच शैली सुरु ठेऊ इच्छित आहेत. 

अशोक यांची या विषयातील रुची त्यांचा जिज्ञासू स्वभाव आणि प्रत्येक गोष्टीबद्दल जाणून घेण्याची लालसा दर्शविते. लीओनार्डो द विन्ची, सर्वांचेच आवडते कलाकार, यांनाही अशीच सवय होती, सगळ्या सामान्य हरकती जे त्यांचे लक्ष आकर्षित करीत, ते त्याची नोंद स्केच च्या रुपात स्वतः बरोबर सतत ठेवलेल्या वहीत करत. मानवी जीवशास्त्र ते वनस्पतीशास्त्र सर्वच त्यांची जिज्ञासा चेतवत. त्यांनी हजारोंच्या वर स्केच केले होते. अशोक हिंगे सुद्धा आपल्या बरोबर कायम पेपर ठेवतात आणि त्यांचे लक्ष वेधून घेणारे दृश्य किंवा विषयाचे स्केच करतात. अशोक यांची जिज्ञासू वृत्ती आणि जाणीव लीओनार्डो द विन्ची सारखीच वाटते. सामान्य्याला बहुमुल्य बनविणे!     

अशोक हिंगे यांची  - सजीव रेखाटन

ह्या सिरीजमधे ब्रशच्या एकाच स्ट्रोक्सने काढलेल्या आकृत्या आहेत. क्रिया आणि हाव भाव अमूर्त रुपात आहेत. सगळी चित्रं किमान चौकटप्रबंधक शैलीत, कुठल्याही गुंतागुंती शिवाय रेखाटलेली आहेत. हि चित्रं काळ्या रंगाच्या वापरामुळे अजूनच प्रभावी वाटतात. सगळी चित्रं  काळ्या रंगात आहेत कारण हा अशोकच्या पसंतीचा रंग आहे. त्यांच्यासाठी काळा रंग सुंदरतेचा प्रतिक आहे आणि निश्चितच कशाही बरोबर मिसळून जातो, पण स्वतःचा छाप ठेवतो. शिवाय, काळ्या रंगाचा ठसा दर्शकांच्या अंतरंगावर खूप काळ  उमटतो. एकूणच, साधेपणा ही ह्या चीत्रमालीकेची सुंदरता म्हणावी लागेल.

हे प्रदर्शन १८ मे ते १९ जून ह्या कालावधीत दिनोदिया १ x १ आर्ट ग्यालरी, बजाज भवन, नरिमन पोइन्त, मुंबई  येथे आहे. वेळ : सकाळी ११ ते संध्याकाळी ६ पर्यंत - दररोज (रविवारी बंद)