jeudi 16 janvier 2020

The art of expression at Serendipity Arts Festival

Source The Telegraph
Imagine the Mandovi river in Panaji with Goa’s heritage structures spread on the riverside providing the perfect canvas for the culmination of creativity. The recently concluded fourth edition of the Serendipity Arts Festival painted a picture on this canvas with their eight-day multidisciplinary creative extravaganza with a programming so nuanced yet extensive that it had something for everyone. With 12 diverse venues housing over 95 projects ranging from art exhibitions and installations to live performances and workshops, the Serendipity calendar is always one to look out for. While multicultural art practices were in focus, projects pushing the boundaries of acceptance and politics could also be seen, making this multihyphenate in the truest sense. We tried to pack in as much as we could over two nights and here are our highlights.
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jeudi 9 janvier 2020

Akbar Padamsee: The Sanskrit scholar among the Progressives

Source The Hindu by Uma Nair
Striking a balance between modern art and Indian philosophy, Akbar Padamsee strived to bring the conscious and the unconscious on the same plane. Akbar Padamsee’s passing away invited an elegiac silence in the contemporary art world. India has lost the Sanskrit scholar among the Progressives. Padamsee, as an artist, led us into a space of refined aesthetic, balancing between the hieratic and the human. In the best of two centuries, Padamsee nourished himself as the fountainhead of regional and ancestral traditions to translate an epoch of modernism in his sensibility and language. Born in Mumbai on April 12, 1928, into a Khoja Muslim family with intellectual leanings, Padamsee joined Sir. J.J. School of Art in 1948, with considerable support from his family and the blessings of Aga Khan.
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Artist Jogen Chowdhury’s rare works, across mediums and periods are on show at Pundole’s, Mumbai

Source Architectural Digest India by Uma Nair
Pundole’s in Mumbai is offering a glimpse into the relationship between an artist, a collector and a gallery of repute. Masanari Fukuoka, a renowned Japanese collector, who has about 400 Jogen Chowdhury’s works in his collection—from drawings, paintings and pastels (1965-2005)—is ready to open up his prized possessions because here is a relationship that goes back more than 20 years.
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mardi 7 janvier 2020

Akbar Padamsee, one of pioneers in Modern Indian painting, dies at 91

Source Hindustan Times
Born in 1928 in Mumbai, Padamsee passed away after prolonged illness on Monday evening. He was 91. A contemporary of the legendary Progressive masters, including FN Souza, VS Gaitonde, MF Husain, Padamsee worked with a variety of mediums including oil painting, photography, sculpture, prints and film. “His legacy spans more than the art he produced,” said art and cultural critic Ranjit Hoskote, who described Padamsee as his mentor. “He was a myriad-minded man. His pioneering spirit allowed him to experiment with a wide range of media,” Hoskote said. “He had a profound practical sense. He was engaged with how one makes one’s way through life, preoccupied with an artist’s relation to the museum, culture, reading, and discussion.”
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vendredi 3 janvier 2020

A cry from the art: In the backdrop of political turmoil, Indian art turns its gaze inwards to the country's diverse folk, subjugated and alternative narratives

Source Indulges by Anagha M
As the nation erupts and boils over with protests against the new Citizen Amendment Act by the government, a larger dialogue about labels, homelands and prejudices emerges and the nation yearns and introspects about identity. In this atmosphere, the recently concluded Serendipity Arts Festival in Goa, through interdisciplinary and cross-cultural exchange brings forth and ponders the topics of identity, inclusivity and diversity in a congruent manner. Indulge spots trends and common threads that the festival had to offer /.../ Nancy concludes with a hope that in the coming year, artists will approach their practices with an expanded political consciousness. “In the current situation, where anybody who questions the government is considered anti-national, my show suggests that we reclaim the diverse histories ignored or repressed by the dogmas of art history on the one side, and by ultra-nationalism on the other. The idea is not to fetishise these lost histories. It is to make them relevant to the urgencies of our times,” she sums up.
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