 |
More
to explore with Art Heritage than just Booth B-8. Be at Project Space
P12 to experience Vanita Gupta’s "Breathe In, Breathe Out: A Medley in
Spatial Registers" which explores the relationship between continuity
and rupture, gravity and lightness, and the potentially infinite
extension of shape and the concrete finitude of mass.
#IndiaArtFair2017 #ArtHeritage |
Tuesday, 31 January 2017
Vanita Gupta : P-12 India Art Fair 2017- Delhi
Sunday, 15 January 2017
Pisurwo developed his aesthetic skills by following the contemporary school of abstract art institution.
Jitendra P Suralkar, born in 1977, also known as “Pisurwo”, is an Indian origin artist descending from Kalkheda district in the State of Maharashtra,near Ajanta cave, India. During his course of 6 years, Pisurwo developed his aesthetic skills by following the contemporary school of abstract art institution. he handled subjects Yakshya-Yakshini, triangle,king and queens,ramayana- Mahabharata period,lady godia,last supper and other.
Currently, Pisurwo is showcasing his abstract form of arts into unique masterpieces by portraying multiple human behaviors in his expressive artwork theme titled: King and His Six Queens. Behind every masterpiece comes an expression of how the King constantly adapts his behaviors to those of his counterparts. A reason why his themed art gallery projects the different stages and transitions of what the King have become today, according to Pisurwo. Stories cannot be told in narration, however, but can be envisioned on canvas, a reason why Pisurwo reflects human behaviors, characteristics and emotions before the eyes of the beholder.
Pisurwo done his past exhibition Paris( villa vasillief)- London ( show room)- Sri Lanka (shadow's) - Kuwait (rahem art gallery)-afrika (Dakar biennial) - New York (contemporary biennial)- Dubai (Dubai biennial),Ireland( private space) - India ( chemould Prescott,clark house,kalaghoda festival,jehangir and other places )
Pisurwo done 160 paintings yaksha yakshani year 2006 to 2009
Yakshini (Sanskrit: याक्षिणि, also known as Yakshi and Yakkhini in Pali) are mythical beings of Hindu, Buddhist, and Jain mythology. Yakshini (Yakshi) is the female counterpart of the male Yaksha, and they are attendees of Kubera, the Hindu god of wealth who rules in the mythical Himalayan kingdom of Alaka. They are the guardians of the treasure hidden in the earth and resemble fairies. Yakshinis are often depicted as beautiful and voluptuous, with wide hips, narrow waists, broad shoulders, and exaggerated, spherical breasts. In Uddamareshvara Tantra, thirty-six Yakshinis are described, including their mantras and ritual prescriptions. A similar list of Yakshas and Yakshinis are given in the Tantraraja Tantra, where it says that these beings are givers of whatever is desired. Although Yakshinis are usually benevolent, there are also yakshinis with malevolent characteristics in Indian folklore.
36 Yakshinis
The list of thirty six yakshinis given in the Uddamareshvara Tantra is as follows:
A Yakshini. 10th century, Mathura, India. Guimet Museum.
Vichitra (The Lovely One): She bestows all desires.
Vibhrama (Amorous One)
Hamsi (The one with Swan): She reveals the whereabouts of buried treasure, and grants an unguent with which one may see through solid objects.
Bhishani (The Terrifying): The ritual is to be performed at the junction of 3 paths. The mantra is to be recited 10,000 times. Camphor and ghee are to be used as the offering. Om Aim Drim Mahamode Bhishani Dram Dram Svaha.
Janaranjika (Delighting Men): She gives great good fortune and happiness.
Vishala (Large Eyed): She gives the alchemical elixir.
Madana (Lustful): She gives a cure-all pill.
Ghanta (Bell): She gives the ability to enchant the world.
Kalakarni (Ears Adorned with Kalas):
Mahabhaya (Greatly Fearful): Protection from disease. She gives freedom from fear and the secret of alchemy, also freeing one from grey hair and signs of old age.
Mahendri (Greatly Powerful): Gives the person the ability to fly and go anywhere.One obtains Patala Siddhi.
Shankhini (Conch Girl ): Fulfilment of any desire.
Chandri (Moon Girl):
Shmashana (Cremation Ground Girl ): She gives treasure, destroys obstacles, and one is able to paralyse folk with a mere glance.
Vatayakshini: She also gives a divine and magical unguent.
Mekhala (Love Girdle):
Vikala: She yields the desired fruit.
Lakshmi (Wealth): She gives Lakshmi Siddhi, the secrets of alchemy, and heavenly treasure.
Malini (Flower Girl ): She gives Khadga Siddhi, which means being able to stop any weapon.
Shatapatrika (100 Flowers ):
Sulochana (Lovely Eyed): She gives Paduka Siddhi, enabling one to travel at great speed through the aethers.
Shobha: The Devi gives the power of full enjoyment and the appearance of great beauty.
Kapalini (Skull Girl): She gives Kapala Siddhi. She gives the power to go anywhere in the aethers in one's sleep, and also to go to any great distance away.
Varayakshini:
Nati (Actress): The Nati gives hidden treasure, an alchemical unguent, and the power of mantra yoga.
Kameshvari:
The text states these have already been described.
The text states these have already been described.
Manohara (Fascinating):
Pramoda (Fragrant):
Anuragini (Very Passionate):
Nakhakeshi:
Bhamini:
Padmini is said to be included in (35) below.
Svarnavati: She gives Anjana Siddhi.
Ratipriya (Fond of Love):
 |
| (Artist : Pisurwo ) |
Currently, Pisurwo is showcasing his abstract form of arts into unique masterpieces by portraying multiple human behaviors in his expressive artwork theme titled: King and His Six Queens. Behind every masterpiece comes an expression of how the King constantly adapts his behaviors to those of his counterparts. A reason why his themed art gallery projects the different stages and transitions of what the King have become today, according to Pisurwo. Stories cannot be told in narration, however, but can be envisioned on canvas, a reason why Pisurwo reflects human behaviors, characteristics and emotions before the eyes of the beholder.
 |
| (Artist : Pisurwo at GalleryChemould -Mumbai ) |
Pisurwo done his past exhibition Paris( villa vasillief)- London ( show room)- Sri Lanka (shadow's) - Kuwait (rahem art gallery)-afrika (Dakar biennial) - New York (contemporary biennial)- Dubai (Dubai biennial),Ireland( private space) - India ( chemould Prescott,clark house,kalaghoda festival,jehangir and other places )
Pisurwo done 160 paintings yaksha yakshani year 2006 to 2009
Yakshini (Sanskrit: याक्षिणि, also known as Yakshi and Yakkhini in Pali) are mythical beings of Hindu, Buddhist, and Jain mythology. Yakshini (Yakshi) is the female counterpart of the male Yaksha, and they are attendees of Kubera, the Hindu god of wealth who rules in the mythical Himalayan kingdom of Alaka. They are the guardians of the treasure hidden in the earth and resemble fairies. Yakshinis are often depicted as beautiful and voluptuous, with wide hips, narrow waists, broad shoulders, and exaggerated, spherical breasts. In Uddamareshvara Tantra, thirty-six Yakshinis are described, including their mantras and ritual prescriptions. A similar list of Yakshas and Yakshinis are given in the Tantraraja Tantra, where it says that these beings are givers of whatever is desired. Although Yakshinis are usually benevolent, there are also yakshinis with malevolent characteristics in Indian folklore.
36 Yakshinis
The list of thirty six yakshinis given in the Uddamareshvara Tantra is as follows:
A Yakshini. 10th century, Mathura, India. Guimet Museum.
Vichitra (The Lovely One): She bestows all desires.
Vibhrama (Amorous One)
Hamsi (The one with Swan): She reveals the whereabouts of buried treasure, and grants an unguent with which one may see through solid objects.
Bhishani (The Terrifying): The ritual is to be performed at the junction of 3 paths. The mantra is to be recited 10,000 times. Camphor and ghee are to be used as the offering. Om Aim Drim Mahamode Bhishani Dram Dram Svaha.
Janaranjika (Delighting Men): She gives great good fortune and happiness.
Vishala (Large Eyed): She gives the alchemical elixir.
Madana (Lustful): She gives a cure-all pill.
Ghanta (Bell): She gives the ability to enchant the world.
Kalakarni (Ears Adorned with Kalas):
Mahabhaya (Greatly Fearful): Protection from disease. She gives freedom from fear and the secret of alchemy, also freeing one from grey hair and signs of old age.
Mahendri (Greatly Powerful): Gives the person the ability to fly and go anywhere.One obtains Patala Siddhi.
Shankhini (Conch Girl ): Fulfilment of any desire.
Chandri (Moon Girl):
Shmashana (Cremation Ground Girl ): She gives treasure, destroys obstacles, and one is able to paralyse folk with a mere glance.
Vatayakshini: She also gives a divine and magical unguent.
Mekhala (Love Girdle):
Vikala: She yields the desired fruit.
Lakshmi (Wealth): She gives Lakshmi Siddhi, the secrets of alchemy, and heavenly treasure.
Malini (Flower Girl ): She gives Khadga Siddhi, which means being able to stop any weapon.
Shatapatrika (100 Flowers ):
Sulochana (Lovely Eyed): She gives Paduka Siddhi, enabling one to travel at great speed through the aethers.
Shobha: The Devi gives the power of full enjoyment and the appearance of great beauty.
Kapalini (Skull Girl): She gives Kapala Siddhi. She gives the power to go anywhere in the aethers in one's sleep, and also to go to any great distance away.
Varayakshini:
Nati (Actress): The Nati gives hidden treasure, an alchemical unguent, and the power of mantra yoga.
Kameshvari:
The text states these have already been described.
The text states these have already been described.
Manohara (Fascinating):
Pramoda (Fragrant):
Anuragini (Very Passionate):
Nakhakeshi:
Bhamini:
Padmini is said to be included in (35) below.
Svarnavati: She gives Anjana Siddhi.
Ratipriya (Fond of Love):
Tuesday, 10 January 2017
Like how a grand structure like the V. T. Station that once represented colonial power changed its meaning and became almost like the heart of the city and represented the aspirations of the people.
History
Lab
“It is about a process of understanding the history
from the point of view of progress,
defined by industrial and technological advancement, and how these high points of advancement in turn become yardstick of measuring the extent of damage caused by man against its own kind and nature. History of war could be read as a parallel phenomenon, as how the weapons technology developed and how experiments were not just limited to confinement of laboratories alone, but multiple narratives of History selectively reorganised to support some propaganda in the name of truth. And in that process, the history itself becomes a laboratory of conflict. Imageries emblematic of ideologies, power centres and time change their meaning in the course of changing times. Like how a grand structure like the V. T. Station that once represented colonial power changed its meaning and became almost like the heart of the city and represented the aspirations of the people.
Like this how these smoke and fire spitting chimneys that were once the symbol of progress have changed their meaning if seen through new ecological perspective. In a way this work is an attempt of understanding last two centuries, reading through the high points of changes and events that eventually shaped our time.
 |
| T.V. Santhosh is an artist based in Mumbai |
defined by industrial and technological advancement, and how these high points of advancement in turn become yardstick of measuring the extent of damage caused by man against its own kind and nature. History of war could be read as a parallel phenomenon, as how the weapons technology developed and how experiments were not just limited to confinement of laboratories alone, but multiple narratives of History selectively reorganised to support some propaganda in the name of truth. And in that process, the history itself becomes a laboratory of conflict. Imageries emblematic of ideologies, power centres and time change their meaning in the course of changing times. Like how a grand structure like the V. T. Station that once represented colonial power changed its meaning and became almost like the heart of the city and represented the aspirations of the people.
 |
wood, metal and LED timers 174” x 69” x 27” Image copyright T. V. Santhosh |
Like this how these smoke and fire spitting chimneys that were once the symbol of progress have changed their meaning if seen through new ecological perspective. In a way this work is an attempt of understanding last two centuries, reading through the high points of changes and events that eventually shaped our time.
 |
The
Protagonist and Folklores of justice
installation view at KMB watercolour on paper
60” x 40” (each)
Image copyright T. V. Santhosh |
The
Protagonist and Folklores of justice
These works are part of my new watercolour series,
extensions of my ongoing preoccupation with understanding history in relation
to a process of enquiry into war and terror that shapes our perceptions of
reality and ethics. Also, as a result of rediscovering my old days, when a few
decades back I used to make posters and
be actively part of several street theatre productions for an organization
involved in activities of political resistance.
It was one of the culturally intense phases in Kerala, in the mid 80's, I started disbelieving in 'pure
aesthetical/creative practices' and tried to meddle with the much discussed
idea of art as a possible tool for social reconstructions. Now, I try to
revisit those old days in order to understand it from a much larger perspective
of endless ideological debate on the conflict between personal, social and
political interrelationships. I started this series incorporating linguistic
systems of graffiti and political posters addressing a set of questions. I call
it 'eternal questions', which one can keep asking at any point of time in history, yet, it would still be relevant. A
question like "who is the real enemy?” is both philosophical and ethical
in nature. In the process, works went through drastic change. Many apparent
elements became obscure and the obscure became direct. Elements of posters are
replaced by the elements of performance and studio photography. And images of
herbal garden became the backdrop by problematizing the aspects of political
posters. Like in a one-act play, the protagonist interacts with objects that
determine the progress of its narrative, I meddle with the images to both
subvert and uncover the intent of the questions juxtaposed with. The text that
used to be an integral part of the works vanished and is replaced with lucid
metaphors that can be understood by men in the street.
* *
*
Both
the sculpture and the paintings talk about history of war and violence. While
the sculpture is more about history, the paintings are more about our present.
While the painting incorporate elements of political posters, graffiti and
performances, or medicinal plants as backdrop as a reminder of solutions
provided by nature to each issues created by man, sculpture has taken elements
directly from history in a process to trace the errors committed by men against
humanity.” – T. V. Santhosh
Born in Kerala, T.V. Santhosh received his
Graduate Degree in painting from Santiniketan and Masters in Sculpture from M. S. University,Baroda.
Santhosh’s works have been shown widely in Museums and Biennales. Some of the
museum shows include: Kochi-Muziris Biennale,
2016 curated by Sudarshan Shetty; 56th Venice Biennale 2015 National Pavillion of Iran, The Great Game,
Curated by Marco Meneguzzo and Mazdak Faiznia: Making History, Colombo Art Biennale,
2014; Heritage
Transport Museum, curated by
Priya Pall, New Delhi, 2013; WAR ZONE – Indian Contemporary Art, Artemons Contemporary, Das Kunstmuseum, Austria, 2012; Critical
Mass: Contemporary Art from India, curated by Tami Katz-Freiman and
Rotem Ruff, Tel Aviv Museum of Art, Israel, 2012; 11th Havanna Biennial, 2012; INDIA- LADO A LADO,
curated by Tereza de Arruda, SESC Belenzinho Sao Paulo, Brazil
2012; India, curated by Pieter Tjabbes and Tereza
de Arruda, Centro Cultural Banco do Brasil in Rio de Janeiro,
Brazil, 2011; Rewriting Worlds, 4th Moscow Biennale of
Contemporary Art, curated
by Peter Weibel, 2011; In Transition New Art from India, Surrey
Museum of Art, Canada, 2011; Collectors Stage: Asian Contemporary Art from Private Collections, Singapore
Art Museum, Singapore, 2011; Crossroads: India Escalate, Prague
Biennale 5, 2011; Empire Strikes Back, The Saatchi
Gallery, London, 2010; The Silk Road, New Chinese, Indian and
Middle Eastern Art from The Saatchi Gallery at Tri Postal,
Lille, France, 2010; Vancouver Biennale curated
by Barry Mowatt, 2010; Dark Materials, curated by
David Thorp, G S K Contemporary show, at Royal Academy of Arts, London, 2009;
India Xianzai, MOCA, Shanghai, China, 2009; Passage to India, Part
II: New Indian Art from the
Frank Cohen Collection, at Initial Access, Wolverhampton, UK, 2009; Aftershock, Conflict, Violence and Resolution in Contemporary
Art, Sainsbury Centre for Visual Arts, UEA Norwich, 2007; Continuity and Transformation, Museum show promoted by
Provincia di Milano, Italy, 2007.
His select solo shows include Common Wall, Grosvenor Vadehra, London
2014, The Land, Nature Morte, Berlin 2011, Burning Flags, Aicon
Gallery, London 2010, Blood and Spit, Jackshainman
Gallery 2009, Living with a Wound, Grosvenor Vadehra, London 2009, A
Room to Pray at Avanthay Contemporary, Zurich 2008, Countdown,
Nature Morte, Delhi 2008 in collaboration with The Guild, Mumbai; Countdown, The Guild, Mumbai 2008.
Copyright © The Guild, 2016
All rights reserved
Monday, 9 January 2017
Things are vanishing before us - Premjish Achari
We live in a time when the
digital and the physical are converging together in an unprecedented manner.
The proliferation of screens and humanity’s addiction to it has flattened our
sense of perception; it has irrevocably altered our visual experience.
 |
| ( Premjish Achari ) |
In our
society, screens have become magical tools used by ‘augurers and haruspices’ or
those who read omens in the stars, flights of birds and the entrails of
animals, uncovering guilt and foreseeing the future. Through screens, we
navigate the netherworld of imaginations. They have become our magic mirrors;
it appears that we have formed a Faustian pact with the digital world. Software
and digitised data are replacing the traditional physical dimensions of objects.
We increasingly prefer Bitcoins and digitised banking rather than paper
currency, digital images to printed photographs, e-books to paper books; we
even seem to spend more money on our online personas.
 |
| ( Black Molasses by Aman Khanna) |
Digitisation of objects,
information, and emotions has irrevocably altered existing ways of knowing,
doing and being. Will digital versions of objects such as artworks, photos,
clothes, etc., render them obsolete? Will objects eventually shed corporeal
form and become flat and virtual in the digital world? Will we define ourselves
increasingly through what we consume and create in the digital space? Will our
digital avatars overtake our physical selves?
The proposed exhibition attempts to analyse
and perhaps even salvage the role of objects in our life, by paying particular
attention to their ability to evoke the past through nostalgia and memory. Objects
remind us of who we are, we often use them to demonstrate our identity. There
is little difference between us and what we define as ours. The proliferation
of software and digitised data are replacing the traditional physical
dimensions of objects. In this passage of rites towards the virtual objects
when things are vanishing before us I invite artists to contemplate on the
function of objects, do they see this as a revolutionary paradigm shift, or do
they prefer the old ways of possessing physical objects and its production more
relevant in the preservation of memory and evocation of nostalgia.
This exhibition is a key to
unlock your memories. After entering this labyrinth laden with a series of
objects to trigger your memories you will be able to reflect on how people
interact with objects, how objects often symbolise something more than their
intrinsic nature.
- by Premjish Achari
Featuring:
Aman Khanna | Arti Vijay Kadam | Atul Bhalla | Chandan
Gomes | Chinmoyi Patel | Dayanita Singh | Mansoor Ali| Muktinath Mondal| Nikita
Maheshwary| Prajeesh A.D.| Riya Chatterjee| Roshan Chhabria| Sharmila Samant|
Sumedh Rajendran| Umesh P K| Varunika Saraf| Waswo X Waswo
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