CONTEMPORARY ONE WORD SEVERAL WORLDS

vendredi 7 janvier 2022

Brothers from Warli tribe to show local art at exhibition in Mumbai today

Source The New Indian Express by Benita Fernando
Mayur and Tushar Vayeda used to travel for six hours everyday from their hometown in Palghar district to reach Mumbai to study there. Belonging to the Warli tribe of Ganjad village, their travel to their college showed them the “balance that existed between a traditional and modern life in India”. The experiences are captured in their paintings made in the distinctive Warli style which is art using white lines on a base made of cow dung. The brothers, who have received much fame around the world via exhibitions at the Setouchi Triennale in Japan and the Asia-Pacific Triennial of Contemporary Art, will be making their debut in Mumbai at Artisans’ Centre in Kala Ghoda today. The painting, titled “Our City: Regenerating Hope”, presents a sustainable idea of progress. “This is the future of Mumbai. We are trying to show hope,” Mayur said. “Sea turbines co-exist with an abundance of marine fauna — a different reality from the several infrastructure projects that are currently destroying coastal ecosystems in the city. It’s a philosophy borrowed from the Warli way of life, central to which are sustainable farming, co-existence with nature, and the worship of nature deities,” he added. Mayur and Tushar taught themselves to paint and like many others in their tribe, they also work as farmers and bee-keepers. > read more

dimanche 26 décembre 2021

Maximilano Modesti and Hervé Perdriolle are bringing emerging Indian artists to Brussels

Source Architectural Digest by Ritupriya Basu
Some projects take a while to come together. They call for quiet deliberation and impassioned conversations till they’re ready to take shape, and they’re all the better for it. For AD contributing editor Maximiliano Modesti and art critic and curator Hervé Perdriolle, it was much the same. They first met in 2012 at the India Art Fair in New Delhi, and soon discovered their shared passion for emerging Indian artists. When they both left for Brussels, a few years apart, the idea of opening a gallery started to brew.
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lundi 20 décembre 2021

MAP's latest show traces the trajectory of Indian photography

Source Mint Lounge by Avantika Bhuyan
It has been a rather busy December for the Museum of Art and Photography (MAP), Bengaluru. Earlier this month, it hosted Art Is Life: SoundFrames, in collaboration with the US’ Berklee College of Music, to celebrate music and its power to bring people together. And now an exhibition of photographs from its collection is being showcased at the Monash Gallery of Art (MGA) in Melbourne, Australia, as part of Visions Of India: From The Colonial To The Contemporary. Curated by Nathaniel Gaskell, writer and director of the MAP Academy, it is the first major survey of Indian photography in Australia.
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vendredi 17 décembre 2021

At the Asia Pacific Triennial, Universal Concerns Are Personal

Source Ocula by Pamela See
Since the early 1990s, the Asia Pacific Triennial of Contemporary Art (APT) has reshaped the way that art from the region is presented. APT's inception signalled a departure from the Bjelke-Petersen era in Queensland, which was defined by conservatism, cronyism, and corruption. The demise of premier Sir Johannes Bjelke-Petersen coincided with reforms to Australian foreign policy under Foreign Minister Gareth Evans, who in 1989 called for a 'cultural relations' approach to regional security. Produced by a committee of curators and partner organisations throughout the Asia Pacific since its inception, APT is distinct from other recurrent international exhibition series as it operates without an overarching theme. This year's tenth edition (4 December 2021–25 April 2022) is no different. With a curatorial team of 15 headed by Tarun Nagesh and Reuben Keehan, 69 projects by 150 artists presented across the Queensland Art Gallery and Gallery of Modern Art interrogate traditions and technologies, both old and new, while countering a Covid-related increase in digital reliance with an emphasis on tactility. (Mayur and Tushar Vayeda, Dhartari: The creation of the world, 2021. Exhibition view: The 10th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane.)
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mardi 14 décembre 2021

‘Chitra Ganesh: Dreaming in Multiverse’

Source Washington University in St.Louis
The Mildred Lane Kemper Art Museum at Washington University in St. Louis will present the first solo exhibition in the Midwest by Brooklyn, N.Y.-based artist Chitra Ganesh. In her multidisciplinary practice, Ganesh draws on Buddhist and Hindu iconography, science fiction, queer theory, comics, Surrealism, Bollywood posters and video games, combining them with her own imagery to present speculative visions of society in the past, present and future. “Chitra Ganesh: Dreaming in Multiverse” reflects the artist’s commitment to making worlds that are tethered to culture and history, yet unbound from the limitations of contemporary reality. At the Kemper Art Museum, Ganesh will exhibit 13 digital prints that together comprise the artist’s “Multiverse Dreaming” suite, as well as a selection of her video animations. The exhibition will be on view Feb. 18 through July 25, 2022.
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samedi 4 décembre 2021

Traditional art forms are fighting back in the Asia Pacific region

Source The Art Newspaper by
The 10th Asia Pacific Triennial in Brisbane explores connections between people and place—and the encroaching danger of climate change. Among the 150 artists and collectives participating in APT10 are brothers Mayur and Tushar Vayeda, who were born and still live in the village of Ganjad, 80 miles from Mumbai in India. They make art in the style of their Warli tribe-—a kind of pictorial language featuring geometric human figures against a background of lush, stylised vegetation and natural formations. The brothers paint traditional fables, as well as stories they gathered by recording local oral histories, using water-based paints on a ground made of the dung of their own cattle. One of their works, Dhartari: The creation of the world 2021, has been acquired by QAGOMA.
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mardi 30 novembre 2021

Events : Mohanjeet Grewal, pionnière de la mode indienne à Paris, a habillé les stars, de Bardot à Fonda

Madame Mohanjeet Grewal, vient de fêter ses 91 ans et le demi-siècle de sa boutique éponyme " Mohanjeet", Rue St Sulpice - Paris - 6ème. Une soirée organisée par l'Ambassade de l'Inde à Paris est programmée en son honneur, le vendredi 3 décembre 2021, à partir de 19h30 à la Résidence de Son Excellence Monsieur Jawed Ashraf, Ambassadeur de l'Inde à Paris (sur invitation). La légendaire Mohanjeet, a marqué les années 60/70/80 avec ses créations 'Bohème chic' qu'elle eut la vision de créer. Femme au destin exceptionnel, Mohanjeet a rapidement conquis le who's who parisien et international. Ses collections ont régulièrement habillé de nombreuses célébrités pour des films, mais aussi pour des shootings et des reportages mode et lifestyle, en particulier sous la direction des plus grandes: Mary Russell, Kitty Russell, Carine Roitfeld pour ne citer que les plus iconiques. Mohanjeet, "unstoppable" n'a eu de cesse pendant toutes ces années, de créer des collections indémodables et éco-responsables bien avant l'heure. Sa contribution dans le secteur de la mode et du textile est grande et a inspiré de nombreux créateurs français. Un document que Mohanjeet a préparé avec l'aide précieuse de Julien Nenault (qui est également l'auteur de nombreuses photos récentes), pour retracer avec des mots et des images les moments magiques et inoubliables de ses cinq décennies est disponible sur simple demande. Visuels : Mohanjeet Grewal, pionnière de la mode indienne à Paris, a habillé les stars, de Bardot à Fonda, Journal Le Parisien , du 30 octobre 2021.

samedi 20 novembre 2021

FN Souza, six others fetch over ₹42 crore at Pundole's auction

Source Mint by Varuni Khosla
NEW DELHI : Over eight pieces of art work have sold for close to ₹30 crore at the Pundole's The Fine Art Sale this week in Mumbai. In a dynamic saleroom at the gallery in Hamilton House, the anticipated sale of 83 lots from the collections of Nandlal Bandhopadhyay and others sold for about ₹42.68 crore hammer price, excluding commissions and taxes, surpassing the gallery's expected high estimate of ₹24.09 crore. A total of 81 of the 83 lots on offer were sold. Francis Newton Souza’s Couple - a seminal work from the artist’s oeuvre - from 1964 fetched ₹7 crore at the auction. Akbar Padamsee’s Grey Nude from 1960 from a private collection in Mumbai fetched ₹4 crore, exceeding its pre-sale estimate of ₹1.5-2.5 crore. Mallika Sagar, a specialist in Modern and Contemporary Indian art and Pundole's auctioneer, said they saw strong bidding across a range of artists and new world auction records were set for several as well. "We were also fortunate to have a superlative group of NS Bendre's, representing some of the strongest works to come in to the market," she said.
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samedi 9 octobre 2021

India’s Art World Has Suffered, and Thrived, in the Pandemic

Source The New York Times by Ginanne Brownell
Amrita Jhaveri gently jokes that she was rescued by a Bollywood star. When the actress Sonam Kapoor Ahuja, a client of Ms. Jhaveri’s art gallery, approached her in the summer of 2020 to ask if she would like to use Ms. Kapoor Ahuja’s London office as something of an exhibition space, Ms. Jhaveri was intrigued. “She said, ‘I have this space, you can use the walls as you like,’” said Ms. Jhaveri, who is based in London but who, like Ms. Kapoor Ahuja, used to travel back to India frequently (she and her sister own Jhaveri Contemporary, in Mumbai). The three-floor office, recently featured on the cover of Architectural Digest India, is now adorned with the works of artists represented by the gallery, which will have a booth at Frieze London this week and will take part in “Unworlding,” a curated section at the fair.
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jeudi 2 septembre 2021

Rabindranath Tagore: a National Art Treasure

Source Christies
‘In the 1920s and early 1930s he was at the peak of his fame,’ says Vesey, ‘and I think he very much capitalised on that, wanting to spread his ideas and reach as many people as possible. He felt that his art was able to express something that his writing could not, and having a big exhibition in the thriving art scene of Paris, and then across Germany, would have maximum impact.’ It was in Germany that Untitled (Couple) was bought by a member of the Rathenau family, who are now selling it. Tagore had received no formal training as an artist and many of his paintings started as notebook doodles, which he then worked up either into complex abstract forms or into images of birds and animals that had, as he put it, ‘unaccountably missed [their] chance of existence’. He gave the impression that these works were achieved almost spontaneously, by exploiting the unconscious and the accidental. His paintings of people, such as Untitled (Couple), were also done from the imagination rather than from life, painted in a style that Vesey describes as ‘flat, non-naturalistic or naïve’.
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vendredi 27 août 2021

Art collector Kiran Nadar on making art accessible today and opening a new space in Noida

Source Life Style Asia by Akshita Nahar Jain
The biggest milestone coming up is the new Kiran Nadar Museum of Art (KNMA) stand-alone building designed by Ghanaian-British architect Sir David Adjaye. This state-of-the-art building will be located in the capital and will house our new museum and also a cultural centre. While this was unavoidably delayed due to the pandemic and subsequent lockdowns, we are now excited to proceed with our plans. In this new space, we hope to build upon our mission and expand it by providing a hub of creative education for all. The goal remains the same i.e. to make art more and more accessible and to make people more aware of its importance and the role it plays in shaping our society.
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jeudi 15 juillet 2021

Amrita Sher-Gil's Ladies' Enclosure set a new auction record

Source The Mint by Avantika Bhuyan
A rare Amrita Sher-Gil painting from her India period, painted just three years before her death, fetched ₹37.8 crore (US$ 5.14 million) at a Mumbai auction on Tuesday, making it the second-most expensive artwork by an Indian artist globally. The record-breaking sale of Sher-Gil’s seminal painting clearly indicates her artistic merit, said Dinesh Vazirani, chief executive and co-founder of Saffronart, which auctioned her painting. “The work highlights her growth and development as an artist and is a culmination of years of coming into her own as an artist of repute. It is, additionally, a rare work of the artist from that particular period to emerge in the art market, and we are honoured to have played a part in creating a new benchmark with this auction," Vazirani said. The Indo-Hungarian artist blended European and Indian styles in her work and captured the lives and experiences of women in early 20th century India. “Her paintings are lauded for their timeless themes and qualities that powerfully resonate with women’s narratives even today," notes a blog post on Saffronart, published on 8 July.
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Shilpa Gupta and the art of infiltration

Source Architectural Digest by Anindita Ghose
Gupta’s works bore deep but there is a surface-level accessibility to them as well. “In terms of people receiving the work, it’s like keeping the door slightly ajar to start a possible conversation. Can there exist something only to trigger an emotion or a thought?” she asks. Her pundit-meets-punk aesthetic has spanned Advaita philosophy to guerilla performances where not just soap bars but white balloons with messages scrawled across may be handed to exhibition visitors and passersby who carry it into other worlds with them. For even where people cannot go, Gupta knows that art can infiltrate.
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dimanche 6 juin 2021

Rithika Merchant's interpretation of 'saudade'

Source Livemint by Avantika Bhuyan
In late 2019, artist Rithika Merchant began work on a new series themed on climate change. The idea was to explore how Earth changed after the advent of humans, and how this process has sped up in recent years. “The series looked at what we will be left with after the anthropocene/holocene, and what we can learn from the simpler times before,” says Merchant. Through 2020, the pandemic added another layer of meaning to the series, which was exhibited at TARQ, Mumbai, earlier this year. It got embedded with a certain longing for a not-so-distant past when life was “normal”. “I was in Mumbai when the nationwide lockdown was announced in March last year,” says the artist, who shuttles between Barcelona, Spain, and Mumbai. “I was staying with my parents and living in the bedroom in which I grew up. So one ended up ruminating over memories, and there was a yearning to be one with nature again.” This is when she created Saudade, a work inspired by the Portuguese word for deep longing and melancholia, as part of the series.
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samedi 22 mai 2021

Shilpa Gupta opens at Antwerp’s M HKA

Source The Hindu by Georgina Maddox
Now the M HKA (Museum of Contemporary Art, Antwerp) is showcasing her first mid-career survey exhibition, titled Today Will End. The exhibition looks at the evolution of her work over the last two decades, foregrounding the speculative nature of her practice as well as the depth of her critical engagement with psychology, behaviour, politics and language. It is curated by Nav Haq, the associate director of the museum, who has been following Gupta’s practice. “Ten years ago, Nav did my first UK institutional solo at the Arnolfini in Bristol. Later, when he curated the Göteborg International Biennial, he had shown the outdoor light work WheredoIendandyoubegin, on which he had titled his show,” says Gupta, who is busy setting up the show remotely from Mumbai, exchanging floor plans and photographs with the museum.
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mercredi 19 mai 2021

How artist Avinash Karn uses Madhubani art to initiate dialogue on communal and caste divides in India

Source Firstpost by Shailaja Tripathi
Mithila painting was once the domain of upper-caste artists. Over time, quite a few Dalit women artists also took to it and incorporated themes relevant to their lives. Dulaari Devi who belongs to the mallah community, was awarded the Padma Shri earlier this year. However, it is still not very usual for muslim women to learn Mithila painting. This makes this initiative compelling. “There are challenges for these girls to learn painting. It is not easy. One of them told me that the neighbours criticised when they took a painting home. I believe there are certain restrictions associated with painting but their parents are so supportive. That’s why I admire their guts, passion and commitment. The art form of Mithila needs such diverse perspectives,” states Karn. Apart from five muslim girls, two girls from the Hindu community — Premlata and Hemlata — are also part of the project.
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samedi 24 avril 2021

JANGARH SINGH SHYAM: THE GOND ART PIONEER WHO CREATED HIS OWN IDIOM, BUT LEFT THE WORLD TOO SOON

Source Abir Pothi by Shampa Shah
“Jangarh is no ordinary artist painting in any traditional manner or style. He is not just an icon maker. Inventive and innovative, he opens up vistas that perhaps have no parallel in Pardhan or Gond art. The Leela (playfulness) which Jangarh brings to his art is without parallel, yet it seems to belong to some submerged tradition.” — J. Swaminathan, The Perceiving Fingers. The first thing that rings in my mind when I think of Jangarh is his laughter — a peal of laughter in its most real sense, echoing exactly like the laughter with which the character of Mozart has been endowed in the film Amadeus. In the film, it was assigned the name ‘the laughter of God’. Jangarh’s, too, was the laughter of God, which unnerved you with its innocence and abandonment. It was the innocent laughter of a person unaware of the vagaries of life. The life of Jangarh Singh Shyam has been “the stuff dreams are made of”, to borrow from the essay Dream Children by Charles Lamb. His journey from his native village Patangarh, tucked away in the folds of undulating hills and forests, to the urban city of Bhopal, and from there to some of the biggest centres of art in the world has been fraught with excitement and fears. Durgabai Vyam, another very talented Pardhan painter, shared with me that in the village, before the discovery of his genius, womenfolk used to fondly call Jangarh ‘Kanva’ or crow, because of his wisdom and inquisitiveness. When Jangarh decided to leave the village and settle down in Bhopal, the women bidding him farewell cried, “To what unknown lands will your inquisitiveness take you dear Kanva? May you be blessed always.” Did the women of the village have a premonition of his overseas sojourns, bringing accolades and fame to the entire community, followed by his untimely demise in the faraway land of Japan?
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jeudi 22 avril 2021

How galleries, intellectuals, and patrons have shaped contemporary Indian art

Source Art Basel by Kanika Anand
India is a country rich with history, and its heady mix of colors and sounds, tastes and appetites, positions and compositions are embedded in the country’s cultural landscape. But despite the plethora of diverse artistic practices, a new generation of forward-thinking curators, and platforms with an international reach, such as India Art Fair, Kochi-Muziris Biennale, and Serendipity Arts Festival, the contemporary art ecosystem in India is largely still overlooked by the state. Adequate infrastructure to support public institutions and artists through funding opportunities like grants and awards has not appeared. Consequently, a handful of patrons-turned-gallerists have expanded their roles beyond their conventional scope and become the bedrock of the contemporary Indian art scene.
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mercredi 21 avril 2021

Those invisible women who labour over kantha quilts

Source MintLounge by Somak Ghoshal
The desire to mend, repair and reuse is intrinsic to human nature, though that may be hard to believe in this age of disposable living. Archaeologists have found needles among the ruins of the Harappan civilisation, a discovery that imbues the familiar act of sewing with an aura of distinction. The ongoing online exhibition, Painted Stitches, Woven Stories, organised by the Museum of Art & Photography (MAP), headquartered in Bengaluru, intends to draw our attention to the alchemy of thread and needle, the poetry spawned by their conjunction, and the layers of memory and meaning these seemingly everyday materials can produce. Yet, even as the world becomes increasingly alert to the richness of what is still seen as an artisanal tradition (though major auction houses now regularly have heirloom textiles and tapestries in their lots), the original creators, inheritors and preservers of these quilting traditions are far from getting their dues. Let alone any acknowledgement of their name on the work they make, most of these women are not even given basic minimum wages for their labour, partly due to the informal and unorganised nature of their work and partly due to the snobbery of the art-historical and commercial establishments. Until the latter shift their focus from redundant debates on the merit of ‘art’ versus ‘craft’, the invisibility of the subcontinent’s quilt makers is unlikely to diminish. MAP’s current effort is a step towards not only making the creations of these invisible women widely visible but also the labour that goes into bringing these objects to life.
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vendredi 26 mars 2021

In new SH Raza biography, Yashodhara Dalmia shines a fresh light on the iconic artist's life and work

Source Firstpost by Ankush Arora
One of the most successful artists of post-independence India, Sayed Haider Raza would have turned 100 next year. His birth centenary celebrations, launched by the Raza Foundation this year through exhibitions, etc, are an opportunity to ask an important question about his legacy: how do we re-interpret his life and art as we reach the anniversary milestone? This question can be expanded further: how do we read his work in the 21st century, especially in an era of radically transforming styles and methods of art production and exhibition-making? One way of responding to this question is to re-contextualise his work, especially his spiritually loaded Bindu vocabulary, in our present times of social and political crises. For example, in a recent exhibition of Raza’s geometric works at Akar Prakar, New Delhi, the curator and author Ranjit Hoskote interpreted the artist’s paintings as a point of symbolic return in the midst of widespread displacement and migration: In an epoch of displacement and migration, many of us are homeless under the sky. How do we find our way back to the consolation that Raza’s Neelambar offers, the blue mantle of the cosmos? In Raza’s late paintings, insistently, we find ourselves returned to the point of origin, Aarambh, and the process of descending into the world, Avtaran.
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Sudarshan Shetty: challenging limits through art

Source Artchitectural Digest by Anindita Ghose
Sudarshan Shetty, 60, is one of the first Indians to wear the tag of “conceptual artist”. He is also among the most political, though in his characteristically measured way. In 2019, two days after some of his curated exhibits were barred from viewing at the Serendipity Arts Festival in Goa, allegedly for oblique references to the Citizenship (Amendment) Act (CAA) and proposed National Register of Citizens (NRC) protests, Shetty issued an impassioned statement about the need for art spaces to function freely. “As far as the show I curated is concerned, why (should) a caption saying an artwork could not reach on time for the exhibition due to transportation delays (because of) CAA protests in the northeast be a problem,” his statement said. Over a call from his home in Mumbai, Shetty spoke about why it is important for artists to register their protest, the function of art, and a return to painting after 12 years.
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jeudi 25 mars 2021

Art Basel OVR: Two Indian art galleries make a splash at the special digital presentation

Source Architectural Digest by Shweta Vepa Vyas
Even as we find ourselves in the midst of a pandemic, art has found a way to endure, like it always does. In the brave new world of 2021, where social distancing and a virtual life is the norm, art too has gone digital. Art Basel's latest edition OVR: Pioneers—that brings together 100 galleries from 25 countries opens virtually with a 24-hour VIP preview that took place yesterday, and runs up until 27th March. Vadehra Art Gallery and Experimenter Gallery bear the honour of being the only two Indian galleries participating in the event. AD spoke to Roshini Vadehra, Director, Vadehra Art Gallery and Priyanka and Prateek Raja, founders, Experimenter Gallery on their respective presentations for the event.
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samedi 20 mars 2021

Gaitonde breaks Indian art auction record—again—but Amrita Sher-Gil painting falls flat in uneven South Asian sales

Source The Art Newspaper by Kabir Jhala
A work by Vasudeo S. Gaitonde has, once again, broken the record for an Indian artist at auction after his 1961 painting from the collection of the dancer Aditi Mangaldas made £3.9m ($5.4m with fees) at SaffronArt in Mumbai. This comes just six months after he last made this record. Records were set for seven artists, several of whom, such as Sunayani Devi and Manishi Dey, come from the Bengal School. Interest from art historians and institutions in this early 20th-century group of Indian nationalist artists has surged in the past decade, with prices steadily rising in tandem.
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lundi 15 mars 2021

'Marg' art magazine: The trailblazer at 75

Source The New Indian Express by Soumitra Das
For any magazine to have survived 75 long years is a huge achievement. Even more so, when it is a niche magazine like Marg devoted to art. The magazine takes a holistic view of art embracing architecture, photography, sociology, heritage, textiles and archaeology, latest developments in research, besides reviews of exhibitions, photography, books, cinema and what have you. And at this juncture, when the media is desperately trying to keep itself oxygenated, Marg Sanskrit for pathway has taken the bold decision to set off in a new direction by presenting a streamlined look (it has shrunk) with an austere cover that is a far cry from the feast for the eyes that it was in its original avatar. In the editorial of the first issue, Mulk Raj Anand (1905-2004), the magazine’s founder-editor, inspired by Mahatma Gandhi as he was, wrote he sought “…a true synthesis between the lasting values of our past heritage and finest impulses of the new modern civilisation…”
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