Postwar: Art Between the Pacific and the Atlantic, 1945-1965

Guest contributor Ananya Mukhopadhyay reviews the exhibition, on view at Haus der Kunst, Munich, until 26 March 2017

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Image courtesy Grosvenor Gallery

Haus der Kunst’s ongoing exhibition Postwar: Art Between the Pacific and the Atlantic, 1945 – 1965 takes as its premise the ruptured discourses of nationalism and humanism which were sharply brought to light during and following the Second World War. The exhibition traces the global artistic response to the cataclysmic events of the Holocaust, the atomic bombs of Hiroshima and Nagasaki, and the enduring political schisms of the Cold War. In addition to rehabilitating waning and Nazified ‘degenerate’ European modernisms, Postwar surveys the contributions of artists from pan-Asian, African and American backgrounds. In doing so, curators Katy Siegel, Okwui Enwezor and Ulrich Wilmes follow in the footsteps of Rasheed Araeen, whose seminal exhibition The Other Story: Afro-Asian Artists in Post-War Britain was held at the Hayward Gallery in 1989. In another sense however, Haus Der Kunst goes further than to simply subvert the hegemony of Western Modernism. ‘Postwar’ becomes a condition that is not topographically constrained: it is a global consciousness of a violent modernity which counts partition conflicts, decolonisation and the rise of new technologies among its various geopolitical faces. Indian and Pakistani artists are featured prominently in this recent survey of alternative voices.

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Image courtesy Grosvenor Gallery

Baroda artist Jeram Patel is on view alongside Araeen, Anwar Jalal Shemza and Mohan Samant in a section of the exhibition dealing with materialism, entitled ‘Form Matters’. Patel is perhaps most well-known for his experimental brutalisations of the picture surface with a blowtorch, and also for his black abstractions on paper which are seen as in-betweeneries, or illustrations for the interstitial spaces of experience. Postwar, however, exhibits a dark, highly textured oil-on-board composition. A luminous window floats atop the murky abstraction which dominates the picture plane. The curious referentiality of this window element suggests a beyond, a concealed au-delà which emphasises the very instrument of its obscurity: the material blackness of the foreground. The physically ruined postwar landscape had prompted a concern with this kind of material manipulation, with the surface transformed from mediating membrane into the primary site of expression. Highly prized by Alfred Barr, Mohan Samant’s tactile Green Square (1963) is also presented as an embodiment of this trope.

Another area of the exhibition focuses on ‘New Images of Man’, highlighting the major crisis of humanism which characterised the postwar period. Existential questions are combined with a concern for nation building in the works on view here, including Man (1951) by M.F. Husain and Head of a Man Thinking (1965) by F.N. Souza. Husain’s monumental canvas is largely articulated in the colours of the Indian flag, featuring folk dancers, nude female bodies and the sacred cow. The central character of Man is a pensive black figure, drawing the eye by virtue of its chromatic negativity, and raising the question of identity in a newly independent India. Souza’s Head is a similarly charged work of dappled blackness, a stigmatised colour in the context of ubiquitous racial conflicts and migratory movements across not only Indian but global borders.

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Image courtesy Grosvenor Gallery

In the context of modernity as cosmopolitanism, Postwar posits the work of Krishen Khanna, Avinash Chandra and Pakistani artist Sadequain. Chandra’s typical blurring of the line between abstraction and figuration permits the entwinement of various different figures, distinguished by their varied colours and rotund, interlocking forms. While Chandra’s Early figures (1961) is decidedly erotic in its staging of heterogeneous characters, Krishen Khanna’s News of Gandhiji’s Death (1948) uses depicted newspapers to divide up and isolate the various figures on the canvas, thematising separateness within a community, despite their unifying interest in a tragic event.

Krishen Khanna, News of Gandhiji's Death (1948) Image courtesy Grosvenor Gallery

Krishen Khanna, News of Gandhiji’s Death (1948). Image courtesy Grosvenor Gallery

Postwar: Art Between the Pacific and the Atlantic, 1945-1965 is on view at Haus der Kunst, Munich, until 26 March 2017.

Retracing Ribeiro

Guest contributor Ananya Mukhopadhyay reviews Indian modernist Lancelot Ribeiro’s London exhibition

An exhibition at the Burgh House & Hampstead Museum in London marks the beginning of a year-long programme of events to explore and celebrate the work of the late Indian painter Lancelot Ribeiro. As part of the 2017 UK-India Year of Culture, Retracing Ribeiro is a Heritage Lottery-funded project which will examine the artist’s vibrant and often understudied oeuvre through a series of exhibitions and talks.

Having first travelled to the UK in 1950 to study accounting, Ribeiro quickly became disenchanted with both the London weather and his chosen vocation. While living in London Ribeiro acted as studio assistant to his half-brother, Francis Newton Souza, and also started to create his own works. He eventually abandoned his accountancy course and enrolled in St. Martin’s School of Art. Shortly after his graduation however, the artist was required to leave London for his National Service in the Royal Air Force, somewhat interrupting his artistic development. Following his discharge, Ribeiro returned to India and held several successful solo exhibitions before returning to England in mid-1962.

untitled-blue-and-green-landscape-1961Untitled (Blue and Green Landscape), 1961
Image courtesy Grosvenor Gallery

Renowned gallerist Nicholas Treadwell was to be a great champion of the Indian artists who had settled in post-war London, selling their work door-to-door from his furniture van-cum-gallery space. As part of Asian Art in London 2016, Treadwell gave a talk at the British Museum recalling his dealings with Ribeiro and contemporaries Bakre and Souza as he trundled up and down the country in his mobile gallery. All three artists featured in Grosvenor Gallery’s show Indian Modernist Landscapes 1950-1970: Bakre, Ribeiro, Souza, on view 3 – 12 November at 32 St. James’s Street, London.

rib-untitled-white-landscape-1964Untitled (Red Landscape with Dome), 1966
Image courtesy Grosvenor Gallery

Retracing Ribeiro is a chance to experience the extraordinary range of painterly styles practiced by the late modernist, from rare, naturalistic watercolours of Hampstead Heath, to expressionistic Goan landscapes punctuated with the spires and domes of his childhood. The artist’s pioneering use of PVA mixed with fabric dyes in the early 1960s presaged the widespread uptake of acrylic paints in the years that followed, a feat with which Ribeiro is rarely credited. His careful oil compositions have equally received little attention, in spite of their enduring vibrancy and strength of expression.

The Retracing Ribeiro exhibition will be on view at Burgh House & Hampstead Museum until 19 March 2017, while a heritage display from the Ribeiro archive will be on show at the Camden Local Studies and Archives Centre from 6 February 2017 – 31 March 2017. Forthcoming events include talks by David Buckman, author of Lancelot Ribeiro: An Artist in India and Europe, and an evening of lectures and music at the Victoria & Albert Museum early next year. For more information and a full calendar of events, visit www.lanceribeiro.co.uk/news.htm.

Art and Activism at Broad Art Museum

Amit Kumar Jain reflects on The Artist as Activist, a joint exhibition by Bangladeshi artists Tayeba Begum Lipi and Mahbubur Rahman

The Eli and Edythe Broad Art Museum opened a landmark exhibition on two leading Bangladeshi artists, Mahbubur Rahman and Tayeba Begum Lipi, earlier this month. Considered as the forerunners of contemporary art practice in Bangladesh, Rahman and Lipi are also well-known for having co-founded, and currently running, the Britto Arts Trust, a non-profit organisation supporting young artists, since 2002. Their first major museum exhibition, The Artist as Activist brings together an extensive body of the duo’s collective work under one roof, which has “emerged from their shared journey as a husband and wife, and reflect their continual interchange of ideas and pursuit of like-minded themes,” according to curator Caitlin Doherty.

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The Eli and Edythe Broad Museum, Michigan, USA. Image courtesy: Amit Kumar Jain

Doherty transforms the museum space effectively, by dedicating a gallery to each artist and showcasing works from various periods of their career. Lipi’s section is designed as a quiet, intimate and personal space, making the viewer look inwards to the role of the women in the Bangladeshi society. Her works look at the domestic, and how the woman negotiates the constant tussle of her personal ambitions and societal demands. As one moves through the gallery, one moves through her body, culminating in a womb-like, protective environment, where she secludes her innermost desires and emotions from the taxing outer world. This is the space where My Daughter’s Cot, an empty cradle made of stainless steel razors, signifies the vast contradiction between the personal and the societal, and gives a sense of longing in what is supposed to be a beautiful, but threatening symbol of motherhood.

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My Daughter’s Cot, Tayeba Begum Lipi, 2012. Image courtesy: Amit Kumar Jain

Contrary to Lipi’s gallery, Rahman’s artworks speak for the abject, dissatisfied man, beginning with a self-portrait series of charcoal drawings that depict the artist screaming in frustration, in response to his own helplessness and inability to fight the political and social failure of his country. He approaches activism through social commentary, highlighting the plight of the indigo farmer through an ongoing performance piece titled Transformations. In Sounds from Nowhere-8, Rahman symbolically captures the pain and the loss that followed the collapse of the eight-storied Rana Plaza building in Dhaka, which caused death and injury to thousands of garment factory workers. He navigates his own identity in the contemporary political history of Bangladesh, a nation still recovering from two wars. Rahman’s gallery becomes more vocal and versatile as he adapts to multiple mediums in highlighting the struggles he shares with his fellow citizens in a postcolonial, developing country.

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Charcoal drawings by Mahbubur Rahman. Image courtesy: Amit Kumar Jain

The last gallery brings together the works of Lipi and Mahbub under a common endeavour. Through their non-profit organisation, they initiated a project to work with the transgender community in Dhaka. Reversal Reality, a solo project by Lipi, compares the living realities of the artist and co-collaborator Anonnya, a transgender woman, while focussing on the struggles of the latter. While Lipi’s project takes on the individual, Rahman’s video project Time in a Limbo looks at the transgender community through their rituals, dialogues and practices. The museum has proposed to use this gallery with the LGBT community of East Lansing, and hopes to bring Anonnya to the United States to share her experience.

The Artist as Activist is the first major exhibition from South Asia at the Broad Art Museum, and will continue till 7 August 2016. Previously, the museum had showcased a project by Mithu Sen and an exhibition of works by Imran Qureshi and Naiza Khan.

—Amit Kumar Jain, Curatorial Consultant for The Artist as Activist

 

Exhibition details:
The Artist as Activist
Featuring: Tayeba Begum Lipi and Mahbubur Rahman

Dates:
5 March – 7 August 2016

Venue:
Eli and Edythe Broad Art Museum
Michigan State University
547 East Circle Drive
East Lansing, MI 48824
USA

 

 

 

 

Eesha Patkar takes a look at one of South Africa’s foremost artists and filmmakers

WILLIAM KENTRIDGE - RETROSPECTIVE at Johannesburg Art Gallery (3 July - 23 October 2005), Exhibition Poster

WILLIAM KENTRIDGE – RETROSPECTIVE at Johannesburg Art Gallery (3 July – 23 October 2005), Exhibition Poster

William Kentridge, one of South Africa’s leading artists and authorities on the subject of apartheid, has made his way to StoryLTD. For the next few weeks, we are featuring prints and posters from his art shows around the world.

Our collection of posters shows Kentridge’s continued presence in his hometown of Johannesburg where he exhibited steadily at the Goodman Gallery, but internationally as well, at Annandale Galleries in Sydney, Australia, and K20 Grabbeplatz in Düsseldorf, Germany. These are, of course, mere hints of the entire breadth of Kentridge’s achievements.

Between the mid-1970s to the late 1980s, Kentridge started and developed a reputation as a charcoal artist and printmaker. In the ’90s, he produced the first of his many animated films—Monument (1990), Sobriety, Obesity & Growing Old (1991), Felix in Exile (1994), to name a few—a series of nine films that he eventually exhibited together as the “9 Drawings for Projection.” You can find the poster for this exhibit here.

9 FILMS - WILLIAM KENTRIDGE 9 DRAWINGS FOR PROJECTION, Old Fort, Constitution Hill, Johannesburg, 22 -24 March 2004, Exhibition Poster

9 FILMS – WILLIAM KENTRIDGE 9 DRAWINGS FOR PROJECTION, Old Fort, Constitution Hill, Johannesburg, 22 -24 March 2004, Exhibition Poster

Among others, we also have two posters that were once part of a limited edition triptych series. The posters themselves are designs for Kentridge’s six minute short film A Lifetime of Enthusiasm that was part of the installation “Telegrams from the Nose” at the Annandale Galleries in 2008. The third one remains elusive as of now, but those intent on possessing it and completing their collection can make a quest of it.

WILLIAM KENTRIDGE - A LIFETIME OF ENTHUSIASM, Annandale Galleries Poster for Telegrams From The Nose, 11 June to 17 July, 2008.

WILLIAM KENTRIDGE – A LIFETIME OF ENTHUSIASM, Annandale Galleries Poster for Telegrams From The Nose, 11 June to 17 July, 2008.

WILLIAM KENTRIDGE - A LIFETIME OF ENTHUSIASM, Annandale Galleries Poster for Telegrams From The Nose, 11 June to 17 July, 2008

WILLIAM KENTRIDGE – A LIFETIME OF ENTHUSIASM, Annandale Galleries Poster for Telegrams From The Nose, 11 June to 17 July, 2008

Kentridge’s works were hardly ever standalone pieces: when he focused on a project, he created a cornucopia of art work that he abhorred to waste. It all became part of his narrative somehow, either in the original piece that he was designing it for, or a retrospective afterwards. For instance, the 2005 poster “Preparing the Flute” was designed for the exhibition celebrating Kentridge’s operatic production of Mozart’s Die Zauberflöte/The Magic Flute that opened earlier that year at the La Monnaie theatre in Brussels, Belgium.

WILLIAM KENTRIDGE - PREPARING THE FLUTE, The Goodman Gallery Johannesburg, South Africa, 4th June to 16th July, Exhibition Poster

WILLIAM KENTRIDGE – PREPARING THE FLUTE, The Goodman Gallery Johannesburg, South Africa, 4th June to 16th July, Exhibition Poster

Likewise, with this poster designed for the 16th Sydney Biennale in 2008, featuring one of Kentridge’s famous collaborative pieces “Telegrams from the Nose.” The exhibit at Cockatoo Island, during which he worked with composer Francois Sarhan, consisted of a multi-projection film titled I Am Not Me, The Horse Is Not Mine (2008) and referred to a future production of an opera that he directed for the Metropolitan Opera of New York at the time.

WILLIAM KENTRIDGE - TELEGRAMS FROM THE NOSE, 16th Biennale of Sydney, 2008, Exhibition Poster

WILLIAM KENTRIDGE – TELEGRAMS FROM THE NOSE, 16th Biennale of Sydney, 2008, Exhibition Poster

The opera, which premiered in 2010, was a re-adaptation of Russian composer Dmitri Shostakovich’s 1930 opera The Nose, originally borrowed from the short story by the famous Nikolai Gogol.

I first read Gogol’s The Nose sometime in 2010 myself—in tandem with Franz Kafka’s The Metamorphosis—both stories evoking the feeling of absurd, a genre that was particularly relevant and heavily employed in literature, theatre and arts of early 20th century, post-war Europe. Of course, Gogol wrote The Nose much earlier in 1836, to be revived by Shostakovich a century later. There have been several reappropriations of the story over time, but it has never been more consistently experimented on and beautifully explored than in the works and art of Kentridge.

Kentridge, already well-known for his politically inflected work, sought to incorporate the absurdity of The Nose into a series of palimpsestic works of art that defied any clear medium. His charcoal drawings became stop-action animated films that turned into highly interactive multimedia installations. And practically everything that he worked on during 2007 and 2010 was gearing towards the grand pièce de résistance, the final opera.

Gogol wrote The Nose, like most of his short stories (The Overcoat), as a satirical device poking fun at the egotistical excesses of Russian politics during his time. In it, a barber named Ivan Yakovlevich finds a pale nose in the bread he’s about to eat for breakfast. It belongs to Kovalyov—“Major Kovalyov” as he pompously deigns himself—a member of the Municipal Committee. Afraid to be seen with a bureaucrat’s appendage, the barber throws it off the Isaac bridge in the Neva river below. Meanwhile, the Major has just woken up without his nose attached to his face, and proceeds to spend the rest of his day trying to find it and commandeering the local police to catch it for him.

Ludicrous in narrative, yet clever in form, Gogol transforms the nose as a metaphorical and synecdochical arc to puncture the flatulent grandiose of not just the Major, but his peers and superiors as well. The value of a socially acceptable and dignified appearance, given importance through sartorial mentions of uniforms, coats, and cloaks—or lack thereof, in case of the barber—is particularly striking. The Major’s appearance is marred (“flat as a pancake”) without his nose, leaving him impotent and unable to “snub his nose” at those he encounters daily. But I find the Indian idiom “naak kat gayi”—literary translated as “nose cut off”—far more apt here. To find one’s nose (figuratively) cut off, is to be humiliated, ashamed and beaten even. Which is exactly what happens to the Major: he hides, blusters in shame and doesn’t regain his confidence until his nose is returned to its rightful place. Of course, he fails to find any humility in the process and continues in his megalomaniac ways, reaffirming the story for the satire it truly is.

During his work on the opera, Kentridge saw parallels between the politics of Russian bureaucracy and South African socio-economic politics of his own homeland. He found the Absurd as a perfect vehicle for expressing and exploring this dynamic: “(t)he extraordinary nonsense hierarchy of apartheid in South Africa made one understand the absurd not as a peripheral mistake at the edge of a society, but at the central point of construction. So the absurd always, for me, is a species of realism rather than a species of joke or fun. And that’s why one can take the joke of The Nose very seriously.”

WILLIAM KENTRIDGE - WHAT WILL COME, The Goodman Gallery, Johannesburg, South Africa, 10th November to 14th Decemver 2007, Exhibition Poster

WILLIAM KENTRIDGE – WHAT WILL COME, The Goodman Gallery, Johannesburg, South Africa, 10th November to 14th December 2007, Exhibition Poster

WILLIAM KENTRIDGE - K20, 27 March - 31 May, 2004, Exhibition Poster

WILLIAM KENTRIDGE – K20, 27 March – 31 May, 2004, Exhibition Poster

Kentridge was a genius. Whether he was deconstructing three dimensional reality through mirrored cylinders in installations such as “What Will Come” at the Goodman gallery, or reflecting on identity and individual choices in a politically conflicted landscape as he did through his films at the K20 exhibit—at the heart of it was always the voice of an artist striving to inform, interrogate and possibly change the world.

India in All its Glory in Husain’s Paintings at the V&A

Audrey Bounaix takes you through India’s 3000-year history in eight triptychs by Husain

Back in the 1980s, the Victoria and Albert Museum had acquired two sets of lithographs by Maqbool Fida Husain. This time, they’ve set up a room to house his painted triptychs. Eight large panels on view from 28 May – 24 July 2014, offer viewers—especially those new to Indian art—a chance to interpret India in its myriad traditions. As someone with a deeply rooted interest in Bollywood cinema hoardings, I jumped at the occasion thinking that Husain’s monumental triptychs would be in the same vein as his early billboard paintings. My visit to the V&A convinced me otherwise. It had nothing to do with the glamorous cinema world, but instead illustrated the richness of India’s history. We sense reminiscences of his early work freely inspired by photography; Husain is no longer roaming the streets of Madras to capture street imagery, but roaming through Indian history in order to translate as closely as possible its richness. This manifests metaphorically in the art on display. It was meant to be on a grander scale; the artist was still working on the project at the time of his death and originally envisaged a series of 96 panels for Mrs Usha Mittal who commissioned it in 2008.

I was first plunged into darkness as I stepped into the V&A room, but a brightly-painted Ganesha then welcomed me. As if I was performing the traditional pradakshina—or, to use an approximate translation, circumambulate a Hindu templethe display transported me to a similar spiritual mindset. The dynamic representation of Ganesha is accompanied by a curvaceous female form similar to the terra cotta modelling produced during the Indus Valley Civilization (3300–1300 BCE).

M.F. Husain, Ganesha, 2008. Courtesy of Usha Mittal,  © Victoria and Albert Museum, London

M.F. Husain, Ganesha, 2008. Courtesy of Usha Mittal,
© Victoria and Albert Museum, London

This painting is significant in setting a new benchmark through its representation of Indian cultural heritage through eight triptychs. The scale allows for the narrative to move and inspire viewers. The first triptych is titled Three Dynasties, and explores Indian history through three different rulers. Among them, two are foreigners and assume the left and right panels, whereas the Maurya reign is in the centre with its famous Ashoka pillar erected under Emperor Ashoka’s rule. The four-headed lion facing the four main directions is replaced by a real one here. Husain also added what seems to be a seal representing Buddha’s Enlightenment, to recall Ashoka’s renouncement of the world and adoption of Buddhism. Mixing the time and forms, the artist is playing with timeless symbols. In the right panel, he has pared down the time of British Raj to medal-laden British dignitaries with imperceptible features. Queen Victoria is enthroned in a neo-classical pavilion, and Mahatma Gandhi and a Rolls Royce also figure in this panel. Husain’s aim is not to depict historic events as they happened but more to give us an idea through symbols that encapsulate the stakes of Indian history.

M.F. Husain, Three Dynasties, 2008-2011. Courtesy of Usha Mittal, © Victoria and Albert Museum, London

M.F. Husain, Three Dynasties, 2008-2011.
Courtesy of Usha Mittal, © Victoria and Albert Museum, London

Another triptych full of details and references, so much so that it will make you smile once you decipher them, is titled Tale of Three Cities. Here again, the middle panel seems to hold a special significance and Varanasi, city of spirituality, holds this privileged place. Delhi is on the left, while Rabindranath Tagore, Subashchandra Bose, Satyajit Ray and Mother Theresa all figure in Kolkata’s panel in a patchwork’s assemblage, where only the Indian nationalist is given recognisable features . Even though the faces are left without features, symbols are recognised at first sight since they are reduced to their essential attributes. Colours are used for some clarity purposes to delineate the different parts and persons. Strokes of warm paint alternate with shadows to create volume. Husain’s genius lies in his mix of forms and ideas which trigger an immediate sense of identity.

Husain has always believed that Indian culture is not fundamentally Islamic or Hindu, but secular. In Traditional Indian Festivals and Indian Householders, he takes the viewer through a composite culture that has evolved over centuries. The glimpse into the homes of Hindu, Sikh and Muslim families is specified by an aim “to tell a true story of our common people”. In light of his commentaries, the Singer sewing machine, a Hindu journal, an umbrella, a bicycle, the Coran, a Siva Nataraja statue, a hukka, a calendar poster of Govind Singh are stressed as common objects characterising people more than their religion does. Husain attempts to attach himself to reality by portraying his family from memory, the Nanboodri family of Madurai, and Sardarji Bunta Singh of Ludhiana, but the faces and expressions remain obscure. Though on the surface it tells us to assimilate ourselves with families going about their daily life, the underlying theme is of unity which resonates with Husain’s own beliefs.

M.F. Husain, Indian Households, 2008-2011.  Courtesy of Usha Mittal © Victoria and Albert Museum, London

M.F. Husain, Indian Households, 2008-2011.
Courtesy of Usha Mittal © Victoria and Albert Museum, London

Husain’s sensitivity to history is evident in his picturisation of Rabindranath Tagore’s quote: “How the language of stone surpasses the language of man”. In Language of Stone, he chooses to pay a tribute to the rich South Asian lithic heritage. As before in Tale of Three Cities, the statuesque figure of the poet is represented in dark shades while Husain uses warm colours for art objects. He makes reference to the Indus Valley Civilization with the insertion just under the epitaph of The Priest with Trefoil Drape, a masterpiece ranged between 2500-1500 B.C. and preserved today at the National Museum of Karachi. With the Qutub Minar painted in a low-angle shot, a 10th century high-relief from Khajuraho and a wheel from the 13th century Surya Temple, Husain opts for pre-historical or medieval Indian sculptures. Even if there is no Buddha with gentle modelling forms typical from the Gupta Age, I have to say that Husain knows how to pump energy in objects that are inherently statics.

M.F. Husain, Language of Stone, 2008-2011. Courtesy of Usha Mittal © Victoria and Albert Museum, London

M.F. Husain, Language of Stone, 2008-2011.
Courtesy of Usha Mittal © Victoria and Albert Museum, London

 

Priest King with Trefoil Drape, Mohenjo-daro, Indus Valley Civilization (3300-1300 B.C).  National Museum of Pakistan,  Karachi. PhotoCourtesy: http://www.harappa.com/indus/41.html

Priest King with Trefoil Drape, Mohenjo-daro, Indus Valley Civilization (3300-1300 B.C).
National Museum of Pakistan, Karachi.
PhotoCourtesy: http://www.harappa.com/indus/41.html

The same frenetic energy is seen in Modes of Transport, where Husain presents the multiple journeys of India’s citizens as a metaphor for the journey of life. His impressions of India’s history, religion and everyday living are translated through strokes of vibrant colours and superimpositions of ideas and symbols.

Husain’s journey through Indian history is completed through another medium: film. His early cinematic experiment—a 1967 film documentary—translates his impressions of Rajasthan in a very aesthetic way. This freely inspired work filming a shoe, an umbrella and a lantern in a close-up, does not remain extraneous to the triptych series. It intersperses countryside, faces and objects in the same way symbols are isolated in his paintings.

This exhibition is a prompt to travel. More importantly, entry is free to the public. Husain’s images are powerful and vivacious, and that’s enough incentive to drop by to view these works.

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