The Shadow Play as Medium of Memory

Ipshita Sen announces the newly released book on Nalini Malini and William Kentridge’s art of shadow play

William Kentridge Nalini Malani: The Shadow Play as Medium of Memory by Andreas Huyssen

William Kentridge Nalini Malani: The Shadow Play as Medium of Memory by Andreas Huyssen

New York: “The Shadow Play as Medium of Memory”, is an enchanting book, featuring works by two prominent artists of our time; William Kentridge and Nalini Malini. It is an exquisite comparison of their art works incorporating the use of shadow play as a medium of memory. Emphasis is placed on two significant installation pieces created by the artists for dOCUMENTA (13) Exhibition in Wassel, Germany 2012. These works were considered to be epitomes of their artistic careers; William Kentridge’s “The Refusal of time” and Nalini Malini’s “In Search of Vanished Blood”.

In Search of Vanished Blood, Nalini Malani @ Documenta 12

In Search of Vanished Blood, Nalini Malani @ dOCUMENTA (13). Image credit: http://www.flickr.com/photos/g_i_r_a_f/7690241934/sizes/h/in/photostream/

“In search of vanished blood” a colossal installation by Nalini Malini highlighted the prestigious 100-day exhibition. Being a refugee of the India partition, Nalini’s work explores the boundaries of gender and displacement, comprising of cultural imagery through mixed media installations. The installation involves light projecting onto painted acrylic cylinders that revolved, creating dramatic shadows on the wall. The imagery used on the cylinders was off Hindu Goddesses along side western icons creating an interesting juxtaposition between the two cultures. The installation had fantastic aesthetic dynamism stressing on the aspects of the social issues of gender, feminism, violence and religious fundamentalism.

William Kentridge’s “The Refusal of Time” was envisioned through the artist’s several encounters with composer Philip Miller and scientist Peter Galison. This video art piece explores the concept of different perspectives of time and the complexities associated with changing time. It combines drawing, music, dance, movies and concepts creating a dynamic theatrical performance, which brings Kentridge’s notion of questioning time on the pedestal.

The Refusal of Time by William Kentridge @ dOCUMENTA (13)

The Refusal of Time by William Kentridge @ dOCUMENTA (13). Image credit: http://documenta13blog.noz.de/wp-content/uploads/2012/07/890_0008_5505908_32040413.jpg

Both artists independently have works that share similar themes of traumatic pasts, partition, apartheid, expressing these aspects of their being in their own unique but aesthetically complex ways. They have been instrumental in creating a dialogue between modernism and the historical Avant-grade, which is appealing and encourages an audience to see things through the lens of a fresh new perspective.

The Shadow Play as Medium of Memory is definitely a must read!

Strange and Wondrous: Prints of India from the Robert J. Del Bonta Collection

Elisabetta Marabotto of Saffronart suggests a visit to ‘Strange and Wondrous: Prints of India from the Robert J. Del Bonta Collection’ at the Arthur M. Sackler Gallery in Washington

Nârâyana ou Vatapatrakai.” Jean Henri Marlet (1771–1847) and Co. after A. Géringer (19th century). Hand-colored lithograph on paper. From or after a French copy of J. J. Chabrelie, A. Géringer, Eugène Burnouf, and Eugène Jacquet, L’Inde Francaise (French India) (Paris: Chabrelie, 1827–35). Robert J. Del Bontà collection, E079.

Nârâyana ou Vatapatrakai.” Jean Henri Marlet (1771–1847) and Co. after A. Géringer (19th century). Hand-colored lithograph on paper. From or after a French copy of J. J. Chabrelie, A. Géringer, Eugène Burnouf, and Eugène Jacquet, L’Inde Francaise (French India) (Paris: Chabrelie, 1827–35). Robert J. Del Bontà collection, E079. Image Credit: http://www.asia.si.edu/exhibitions/current/delbonta.asp

London: Save the date for Arthur M. Sackler Gallery’s forthcoming exhibition in Washington: ‘Strange and Wondrous: Prints of India from the Robert J. Del Bonta Collection’.

The exhibition opens October 19 and runs until February 2014. The fifty artworks on display, which belong to the Robert J. Del Bontà Collection, include lithographs, engravings, aquatints and other prints illustrating sixteenth to twentieth century India through western eyes.

These artworks were made by merchants, soldiers, missionaries and other people who traveled to India and documented their stays there. These prints, being easily reproduced and widely circulated, spread knowledge as well as misconceptions about India.

Below you can enjoy a sneak peek of the collection’s highlights.

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For more information click here.

EUROPALIA!

Kanika Pruthi of Saffronart talks about the upcoming European international art festival that will celebrate the cultural heritage and contemporary arts of India

Europalia.India banner

New York: Europalia is a major international arts festival held every two years in Europe. It aims to celebrate the cultural heritage of a selected country through different kinds of programs that are hosted all over Europe. Its name is a combination of two words: “Europe” and “Opalia,” an ancient Roman harvest festival held in mid-December in honour of Ops, earth-goddess and fertility deity. Her name lies at the root of the Latin word “Opus”, that denotes a work of art.

Since its debut in 1969, Europalia has organized around twenty three festivals. The festival runs from October to February and boasts of a diverse program that includes music, dance, theater, art, literature, photography and cinema. The venues are spread all across Brussels, other Belgian cities and neighboring countries. Through this unique initiative, Europalia hopes to provide the guest country an opportunity to present their cultural heritage and contemporary art practices to the rest of the world, which in turn would promote better understanding between countries and further cultural exchange between global citizens from around the world.

2013 is India’s year! Each festival enjoys the patronage of the King of Belgium and the guest country’s Head of State.

The Europalia festival strives to include every cultural aspect of the guest country, from past national treasures to contemporary works, from the arts, science and fashion to design, folklore and even gastronomy. This all-inclusive approach makes Europalia a vibrant festival pulsating with life. Working closely with the guest country enables the festival to showcase outstanding works and experiences that have not be accessible to a larger global audience.

The spirit of the festival encourages and fosters partnerships and collaboration between artists and performers. During each festival, Europalia invites celebrated artists to create a project that throws new light on a creative discipline other than their own, bringing an element of surprise and new creativity to the fore. It presents a heady mix of the past, present and the future- with many artists, who have met via this platform, collaborating on future ventures.

Select highlights from the upcoming festival

NALINI MALANI: BEYOND PRINT, HISTORY, TRANSFERENCE, MONTAGE
A self-curated debut exhibition of the Indian artist in Belgium, this show has a lot to offer. Consisting of a selection of her works, from her first artist books to big digital prints and video projections, to unseen works which are part of the collection of the Centre de la Gravure, including a collaborative project with students.

Nalini Malani - Listening to the Shades2 - 2008 © Nalini Malani-courtesy Burger Collection – Zurich. Image Credit: http://www.europalia.eu/en/article/nalini-malani_136.html

Nalini Malani – Listening to the Shades2 – 2008 © Nalini Malani-courtesy Burger Collection – Zurich. Image Credit: http://www.europalia.eu/en/article/nalini-malani_136.html

THE BODY IN INDIAN ART
Curated by Naman Ahuja, the exhibition brings together 250 masterpieces from approximately 50 of India’s museums, archaeological institutes, and private collections, in an exploration of the complex and multifaceted understandings of the ‘Body’ in Indian art. This exhibition reveals the body not only as the subject of art, but also as the medium used to convey the values, preoccupations and aspirations of the times.

Apsara, Hoysala Karanataka, 12-13th c, National Museum New Delhi. Image Credit: http://www.europalia.eu/en/article/the-body-in-indian-art_89.html

Apsara, Hoysala Karanataka, 12-13th c, National Museum New Delhi.
Image Credit: http://www.europalia.eu/en/article/the-body-in-indian-art_89.html

SUSHEELA RAMAN AT VALENCIENNES, FRANCE
The British Indian artist known for her sensual voice mixed with rhythms and melodies that she carefully blends has earned critical acclaim and an international following. A trained carnatic vocalist, her mesmeric voice and style of singing which blends different musical traditions while maintaining a quintessential Indian soul, sets her apart from her contemporaries.

CHARISHNU BY LEELA SAMSON
One of India’s leading dancers, Samson brings together in this brilliant and rare production, several pre-eminent dancer and choreographers and their troupes to showcase the richness of India’s dances and martial and percussion arts. Charishnu, literally ‘the desire to move’, will in a single presentation showcase different dance styles, each in dialogue with the other, culminating in a spectacular finale.

For additional information about the festival click here.

“Readymades”: How Ordinary Objects Become Works of Art

Shradha Ramesh explores the art of some of the South Asian artists who continued this tradition initiated by Marcel Duchamp

New York: Ever wondered if stainless steel utensils would be an artwork? Well, for Subodh Gupta (born 1964), they are the medium of self expression. Coming from a modest family of merchants, Subodh’s works are an ode of his surroundings, the surviving lower working class represented by stainless steel tableware. Born in Khagaul, Bihar his repertoire ranges from painting and sculpture to photography, video and installations. According to Nancy Adajania: “Subodh Gupta’s works are littered with references to past and present experiences. Gupta’s art energizes the forms and imageries that we encounter everyday as part of this globalized world and reevaluates the aesthetic parameters of the present. His art questions the very notions of development and progress. He speaks of the local to the global through certain emblems such as stainless steel utensils, bicycle and milk cans, cow dung cakes suitcases, packages and trolley cast in bronze and aluminium.”

Subodh Gupta, Untitled

Subodh Gupta, Untitled. Image Credit: http://www.saffronart.com/auctions/PostWork.aspx?l=8284

Yet another artist who has used the indigenous motif to communicate the subversive emotion is Bharti Kher (born 1969). Bharti Kher’s art reflects on several sets of dualities such as: male-female, human-nature, modern- traditional and local-foreign. She uses ready-made bindi, an ensemble of Indian marriage and feminine beauty, to narrate eerie and repulsive paradoxes of modern life.

Bharti Kher, Indra's Net (6)

Bharti Kher, Indra’s Net (6). Image Credit: http://www.saffronart.com/auctions/PostWork.aspx?l=7257

“Bharti uses bindi as a means of transforming objects and surfaces. Her Bindi is used to cover the resin cast animals or other sculpture and even to decorate the large panels… often plays with everyday scenes and objects where she deals with the mundane.”

Jitish Kallat (Born 1974) says about his art: “My art is more like a researcher’s project who uses quotes rather than an essay, with each painting necessitating a bibliography,.. any visual material relevant to me.” Kallat’s works represent the fraught of urban discontent and turbulence especially through his fiber glass installation “Death of Distance” (2006). According to Deepak Ananth, French art historian and critic, “Kallat’s vision of his native city…is street-wise, slangy, hectic and rapid, impatient to register the myriad contradictory signals that come within the precincts of its scan. “

You can read more about “Readymades” here.

East of India: Forgotten Trade with Australia

Elisabetta Marabotto of Saffronart shares a note on an exhibition currently on view at the Australian National Maritime Museum, Sydney

East of India: Forgotten Trade with Australia

East of India: Forgotten Trade with Australia. Image Credit: http://www.anmm.gov.au/site/page.cfm?u=2116

London: The Australian National Maritime Museum in Sydney is currently hosting the exhibition, “East of India: Forgotten Trade with Australia”.

Seringapatam Painting

Seringapatam Painting. Image Credit: Australian National Maritime Musem

The exhibition visually narrates past colonial links between Australia and India, the power of the English East India Company and its decline, as well as the modern ties between the two countries. Textiles, coins, ceramics, prints, movies and many other items bear witness to these long lasting links between the two countries, and form the bulk of the display.

"Star Pagoda" Coin, Gold, India, c.1790-1807

“Star Pagoda” Coin, Gold, India, c.1790-1807. Image Credit: Australian National Maritime Museum

A majority of the objects on display (over 300) have been borrowed both from Australian and international collections such as those of the British Museum, the Victoria & Albert Museum and the Royal Collection in the United Kingdom.

Death of Munro, Glazed Earthenware, Staffordshire, c.1830

Death of Munro, Glazed Earthenware, Staffordshire, c.1830. Image Credit: Australian National Maritime Museum

Below you can enjoy one of the videos from the exhibition’s section, “Contemporary Connections”, which discusses the issue of identity for Indian-Australians.

The exhibition will remain on view until August 18, and you can find more information about the show here.