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31 Jul 2018

Art News: Grazie Infinite by Shraddha Rathi in Bangalore

Grazie Infinite by Shraddha Rathi in Bangalore, Art Scene India

Intersections of Infinite Possibilities

Shraddha Rathi explores the concept of gratitude, an expressive emotion towards an appreciation of life and for tangible and intangible gifts, in her new suite of works. She creates a narrative which is rich in emotional content and universal in its reach. From personal notes to community messages, the expanse of storytelling weaves a rich tapestry of chronicles, patterns and motifs of human sentiments, moments and memories.

Adopting a multi-media approach, Rathi, a practicing artist for more than fifteen years now, presents photographs, installations, paintings and a video projection in this exhibition. With this series, she emerges from the confines of traditional bounds and expands her artistic and conceptual horizons to put forth a body of work that has meaningful associations on a personal front and has implications for a larger context.

In a significant shift this year, she created a gratitude bench with engravings of phrases and personal messages of thankfulness and appreciation. This bench organically evolved into the present suite of works and forms the cornerstone for her current engagement. Coincidentally, earlier this year she sighted the benches in Central Park, New York with their plaques that read out messages of gratitude, love, celebration and nostalgia.

Thus, innumerable stories that are intimate and personal, which celebrate the joy of living and memories of life and loved ones, and that effectively translate this personal form of gratitude into community efforts, have coalesced to materialise in the artworks for Rathi’s exhibition. Photographs of plaques, benches and the surrounding landscape from Central Park form the artwork. In addition, inscribed messages on wooden benches, swings and a see-saw, and a video projection mapping of gratitude notes that projects the text onto various surfaces, including the witness/participant, are on display. Contextualising and integrating the notion of gratitude and its universality to Bangalore’s public spaces, conceptual maps of parks are represented in the paintings. The minimalist mappings offer points of reference to local contexts and create possibilities of artistic interventions.

The theoretical premise behind ‘Grazie Infinite’ is two-fold, to reiterate and acknowledge positivity as an indispensable emotion and to extend this engagement via site specific projects to the public arena. Rathi’s practice with this shift towards conceptual art and a minimalist aesthetics lies at the intersections of infinite possibilities, employing mixed media narratives and interactive experiences, while situating them within and outside the frameworks of conventional art locations.

Nalini S Malaviya
Art Critic
Bangalore, July, 2018

All images are courtesy the artist

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21 Nov 2017

Art News: Re-presentation of Reality in Contemporary Art

Re-presentation of Reality in Contemporary Art

22nd Nov at 5.30 pm at Reves Art Gallery, Bangalore

Introduction: All works of art are representations of reality, whether that reality is made up of sensory perceptions, an inner world or a fictitious account. The various styles or forms of art making suggest different ways of looking at reality. In today's context, mediums such as television and film, and technology such as virtual reality offer transformative experiences with varied representations of the reality and of imaginary realms.

New media and technologies have opened up possibilities, breaking barriers of time and space in two dimensional media, making it possible to simulate experiences involved in viewing and engaging with art. It also allows an amalgamation of the personal and the popular in novel ways.
The all pervasive nature of the Internet and wide use of technology have impacted art production and consumption, allowing multiple ways of creating and engaging with contemporary art.

About the Panelists

Murali Cheeroth

Murali Cheeroth has exhibited in over 100 significant shows across the globe in the last two decades. His visual works refer to a wide variety of sources in the cultural sphere and contain within them a deep conversation with the history of representation in visual media, fine art, cinema, music and architecture. Within the context of the history of visual representation, his current explorations include the architecture of the city, urbanization and urban cultures. He looks closely at the ideas of re-construction, infrastructure, technology, speed and change, intersections of local and the global, multiple layers of urban identities and so on.

Some of his major exhibitions include ‘Passage to India’ – the New Indian Art from the Frank Cohen collection in UK (2009); Indian Art summit in New Delhi, SH contemporary Art Fair, Shanghai, Chicago Art Fair and London Art Fair in 2010, Colombo Beinnale, 2012, Chalo India – A group show of Contemporary Indian Artists at Basel Art Centre, 2014. Hotel Maria Kapel Korte Achterstraat 2a1621 GA Hoorn NL-2015, Art fair in Torino, Italy2015, The 2nd international art exhibition of the Silk Road, Shanxi Art Museum, China-2015. His art education includes a BFA and MFA from Shantiniketan, West Bengal and advanced computer diploma in digital media.

Ravikumar Kashi

Ravikumar Kashi is an artist who works in different mediums such as painting, sculpture, photography and installation. His works combine or cut across defined expectations from these mediums. His idea / concept driven works are layered and connect with the viewer in multiple ways. Desire, decay and death are a major concern in his works along with introspection.

Kashi was born in Bangalore in 1968. He completed his B.F.A. from College of Fine Arts, Bangalore in 1988; M.F.A. from Faculty of Fine Arts, M.S. University, Baroda in 1990; and M.A. in English from Mysore University, in 1995. He learnt handmade papermaking from Glasgow School of Art, U.K. He also learnt Hanji, traditional Korean papermaking, from Jang Ji Bang, Korea. He has shown his works in solo shows and curated shows across the world in galleries, art fairs, biennales and museums. He has received National award from Lalit Kala Akademi, Delhi and two awards from Karnataka Lalit Kala Academy and one from Karnataka Shilpa Kala Academy for his works. He writes on art in Kannada and English. Two of his books, 'Anukta' and 'Kannele' have been published from AkshsraPrakashana, Hegggodu. His book 'Kannele' has received Karnataka Sahitya Academy award. He teaches at RV School of Architecture and Acharya School of Design as adjunct visiting faculty.

Shanthamani. M

Shanthamani. M has done a Papermaking Course from Glasgow, Scotland after finishing her Master of Arts (Fine) in Painting from the M.S. University, Baroda. Her Bachelor of Fine Arts in Painting is from CAVA, Mysore University. Her solo exhibitions abroad were “Neither Tree nor Ash” at Suzanne Tarasieve Gallery, Paris, France in 2016 and “Carbon Myths” at Gallery, Helene Lamarque, curated by Anne Maniglier, Miami, Florida, the USA in 2010.

Her participation in the Kochi Muziris Biennale, India 2014, in Art Brussels, represented by Suzanne Tarasieve Gallery, Brussels, in India Art Fair, New Delhi 2012, in “Critical Mass” Tel Aviv Museum, curated by Tami Katz-Freiman, Rotem Ruff, Tel Aviv, Israel, in “River, Body & Legends” a corpus multimedia presentation with two Women artists at Matighar, Indira Gandhi National Centre for Arts, New Delhi 2003, in the two person show held at Galerie Muller & Plate, Munich 2001 and the 10th Triennale-India underline her credentials as a contemporary artist.

In 2017 she was Artist in Residence at Cité Des Arts, Paris and in 2013 she participated in the International Bamboo workshop with the students of Ensad, Paris, in Saline Royale.

Nalini S Malaviya

She is a Bangalore based art critic and consultant. She has been writing for the media since 2003, and has been an art columnist for Financial Times (Delhi and Bangalore) and Bangalore Mirror. She has contributed to Times of India, Sunday Herald, Art and Deal, Art Etc., Art Journal, Art Fair and Lalit Kala Contemporary.

Her curatorial projects include Reimagining: (Un)Reality and Space, Irreverent Gene, Polynomials of Relevance and the ongoing Parallax of Visual Memories. She has published papers on Art, Artists and Society – Catalysing Social Change, and Linear Progressions: Tracing the Line in Karnataka for the Karnataka Lalithkala Academy Journal.

Some of her prefatory essays for art catalogues include 'Feeling Absence' a photography show by Shibu Arakkal, ‘Icons in our Midst’, New Delhi, essays for Yusuf Arakkal's catalogues and books and for artists Gurudas Shenoy, Milind Nayak and Suresh K Nair among others. She was on the Jury for the Lalit Kala Akademi National Exhibition 2017.

An occasional fiction writer, Nalini has published short stories as part of various anthologies, The Shrinking Woman, The Curse of the Bird and Bhelpuri. She publishes www.artsceneindia.com, a popular blog cum Ezine featuring art news, events and articles. She can be reached on nalini.indianart@gmail.com

Venue
Reves Art Gallery
Address;#32,Yedla's 3rd Floor,
100 ft Maranahalli Road,
Sangam Circle,8th Block Jayanagar
Bangalore -560082
Tel -080 48663224
Mob +91 9901931314

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Also read,

5 Reasons a Good Catalogue Text is Essential for Your Art

How To Write An Artist Statement

6 Tips On How To Approach An Art Gallery And Find Gallery Representation

Exhibiting Art in Non-Gallery Spaces

Guide To Exhibiting Your Artworks

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30 Nov 2016

Bharat Thakur's Foray in Art Commences in Bangalore

Yoga Guru Bharat Thakur with his painting

Bharat Thakur's art is an extension of his philosophy towards life and living, and simultaneously, it is an exploration of the self and the spiritual. Although non-figurative, the paintings hint at observed narratives and personal vignettes. In the current exhibition, The Space Between, the entire body of works are abstracts which have evolved significantly in the last couple of decades. And they have become more textural, layered, and non-representational.

There is a greater fluidity in the application of the paint and an increase in depth as well, which has brought about a rhythmic and lyrical quality to it. The overall composition has an intrinsic harmony, which is highly evident in many of the works on display, where the use of light as a divine and serene element gives it a mystic and tranquil touch. At the same time, the combination of colours and rapid strokes suggest an almost effervescent energy which appears to be spilling out from the canvas.The black and white series has a mysterious quality to it.

There is some restraint that Thakur now depicts in his recent works, which helps to take it to another level. A prolific painter, the immediacy of the medium in acrylic and the process of painting - applying paint with his hands lend a tactile quality to the canvas. A compulsion to paint for several hours on a daily basis, the practice is in fact meditative for him – an extension of his yoga practice.

Leonardo da Vinci said that "Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen."And here, in the gallery, every work of Thakur is accompanied by a verse written by him - an evocative expression that draws the viewer in to explore both text and image.

The exhibition continues till 22nd Dec at Time and Space Art Gallery, Bangalore.

14 Nov 2016

Art News (Bangalore) - Reimagining: (Un)Reality and Space

Reimagining: (Un)Reality and Space curated by Nalini S Malaviya marks the official launch of Yepart.com. The exhibition features recent works by Debraj Goswami, Kalyan S Rathore, Maripelly Praveen Goud, Muktinath Mondal, Murali Cheeroth and Venugopal VG

The show opens on 19 Nov 2016 at Hatworks Boulevard, Cunningham Road, Bengaluru and continues till 17 Dec 2016.

Reimagining: (Un)Reality and Space

Observation, truth and materiality interweave to create alternative realities that occupy a realm which is corporeal, yet fictitious, clouding lines of physicality of dimensions. The plurality inherent in existing and functioning within these coordinates, challenge and inspire individuals to examine the intrinsic harmony and conflict embedded in such systems, and simultaneously imagine new spaces. Notions of time and space amidst variables construct fresh associations and connotations, where the resulting topography is a visually enriching landscape capturing points of dissonance and accord, shifts in reality, and reimagined spaces.

The artists' critical engagement with the curatorial premise reimagining (un)reality and space, results in interventions, which explore and question notions of time, space, reality and the subjective relativity that pervades through these dimensions. Multiple realities emerge from stresses of urban living, where observation and truth is skewed and dependent on other dynamics. Ideologies contort for material gains and govern the present and the future. Cognitive and sensory perceptions distort from an altered state of consciousness. The time and space thus occupied is unreal and fabricated as a spontaneous outcome, which is ungoverned by design.

There is an attempt to delve into conflicts, and examine the inherent precariousness and fragility entrenched in natural systems, which are impacted by consumerism and materialistic trends. Reimagining spaces create virtual maps of imaginary loci, introspective journeys in search of the self and enquiries on the 'now' form intriguing visual chronicles of contemporary concerns.

Debraj Goswami contemplates an alternative state of reality that exists in parallel, blurring the boundaries of factual and unreal, and creating distorted dreamlike states. Subconscious preoccupations dictate existence, to assume a truth that is probably fictional and appears surreal. The complexities of living ensure that perceptions of real, unreal and simulated become indistinct and a machine made robotic existence dominates. Past, present and future concerns manipulate sensory reality to form a convoluted sense of the real, and living in the moment becomes a figment of imagination in unusual and often humorous ways.

Kalyan S Rathore’s sculptures exist in a metaphysical context, where time and space are no longer linear entities but transcend corporeal boundaries. The repetition of the sculptural unit akin to fractals in the universe, construct forms that are non-representational and non-specific to natural features. Conceptually based, they explore a fluid reality, while attempting to negotiate a labyrinth that forms life’s journey. The quest for the spiritual and transcendental leads to an introspective process that pauses for self-reflection, while encountering chaos and conflict during the course.

Maripelly Praveen Goud extends the materiality of the print medium to create virtual contours and linear graphs that map imaginary loci and places. Relying on scrunching the paper as a means to initiate cathartic release, the process spontaneously creates dimensions beyond the surface of the plane. The accidental lines morph into unspecified shapes, forms and maps allowing multiple readings - the markings could be representations of metaphorical sites or subconscious points of reference. The material and the medium combine to form layers of meanings within the conceptual maps.

Muktinath Mondal focuses on ecological imbalance, a disrupted equilibrium - a direct result of human interventions. He paints a stark image - black canvases that point to a dark reality, a glimpse into a bleak future that interrogates the very existence and survival of living beings. An increasingly fragile eco-system disintegrates and vanishes as a materialistic world prevails. Time as a distant phenomenon assumes vital relevance, and its catastrophic fate becomes inevitable, unless the current variables are harmonised. The red highlights in the paintings form the primordial link, the essential connective tissue between the various species including mankind, and which innately determines their coexistence.

Murali Cheeroth examines the notion of time as a relative value, with its meaning and intent evolving and transfiguring as a quotient of consciousness, application and relevance. Engaging with the interplay of text, material, texture and aesthetics, the concept of time morphs into multiple meanings and discourses, which reflect the subjectivity of viewing and reading into the artwork. Expressing time as a function of cognitive, linguistic and visual interactions, its reading draws from multiple standpoints, ranging from the personal to the historical. His performative artwork relates to issues linked to microcosmic spaces, which are intimate, act as receptacles of memories and share an indispensable interrelationship with the larger environment.

Venugopal VG explores the dichotomy inherent in situations emerging from urban living, and portrays complexities and dilemmas of reality. Pictorial elements indicating human emotions, desires and relationships construct paradoxes that emphasize the fragility of urban reality. Manipulating and combining physical, emotional and spatial derivatives, the narratives that are created are constructed to create a transmuted reality that is derived from factual components. Identity, migration, adaptability, and transformation are some of the critical issues that explore existential crisis to form imagery which warp representations of reality.

The exhibition will be available online on www.yepart.com from 19th November 2016.

Do visit the exhibition and share your thoughts in the comments section below or write on nalini.indianart@gmail.com.

If you would like to interview the artists, review or cover the event on your blog/website, or for any other media enquiries, please get in touch on nalini.indianart@gmail.com/ naozar@yepart.com/ +91 98450 06644

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28 Apr 2016

Art Advice: Market Mantra, Education Times, Bangalore

Nalini S Malaviya, an art consultant, critic and founder of an art information website, on growing opportunities for artists and allied professionals in her field

By BS Manu Rao

Art Advice: Market Mantra, Education Times, Nalini Malaviya, Art Consultant, Bangalore

The Indian art market is rapidly evolving and expanding in width and dimension despite economic downturns. The last couple of decades have been responsible in giving an impetus to art activities, and in causing a surge in terms of awareness and interest in art. In recent times, several art fairs, festivals and significant exhibitions held across India have ensured that not only local audiences are engaged, but international participation has also grown. In fact, India is fast becoming a prominent player in the region as interest in modern and contemporary art has grown significantly across the world, and the events built around it are of global standards. International art auction houses are also viewing India as a significant market, which is also indicated by a surge in sales in modern Indian art at recent auctions.

Industry Status
With the growth in the Indian art market, not just artists but also other allied professionals such as critics, curators, consultants, restorers among others have increased opportunities for employment. The job description of an art consultant can be quite exhaustive and involve advice on investing in art, building an art collection for individuals and corporate, offering advisory services such as appraisals and valuation. It also involves interactions with artists, mentoring upcoming artists, writing catalogue text, curating art exhibitions and also has opportunities for teaching, conducting seminars, writing for media and advising start-ups on art ventures. As an established art consultant, one can work with artists, galleries, corporates and also art colleges.

Educational Qualifications and Skill Sets
Art history/criticism/curation/arts management backgrounds facilitate a career in art consulting. People from multidisciplinary backgrounds who are creative and knowledgeable about art, possess exceptional analytical and writing skills along with the ability to conceptualize and curate exhibitions can also succeed, but it is important to understand that one must be conversant and informed about art history, artists, global trends, markets, galleries and related topics. Irrespective of the educational background, art consulting is a demanding field and one must be willing to learn with experience and self-study. It also helps to be passionate about art and have networking skills, along with excellent communication skills.

Growth Areas
The contemporary art scene is expected to grow further; the online space especially is evolving at a fast clip and is expected to see more players. As corporates and other businesses become more sensitive towards the arts, the expertise of an art consultant will be required to bring in art based programmes, for instance, training and workshops for employees, activities as part of corporate social responsibility and other areas where art knowledge and creativity is essential.

Remuneration
Starting salaries could be low, but there are plenty of opportunities to freelance. It can be anywhere from Rs 20,000 onwards depending on your capabilities and skill sets.

-As told to BS Manu Rao

An abbreviated version of the above article was published in Times of India, Bangalore on 25th April, 2016

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10 Jul 2015

5 Reasons a Good Catalogue Text is Essential for Your Art

A well-written catalogue text adds value to your art and provides a reference point for viewers.

Over the years, I must have received hundreds of press/ media kits from artists having exhibitions. The art catalog on a CD or a hard copy by post has been an inevitable part of the kit and these are sent by the artist or gallery.

It does not matter if the show is in a well-known private gallery, a hotel, or in a public gallery self-hosted by the artist. However, there has been a steady decline in the number of catalogues that accompanies a press kit. Not surprising, given the cost of publishing and printing, current economic conditions and the state of the art market.

Of late, very few galleries will wholly sponsor an art exhibition, let alone pay for a 20 page glossy catalogue. This is how conditions are and it is a matter of survival for many galleries in India. In the West too, the trend of catalogues accompanying an exhibition is on the decline, but remember writing fees are also much higher there. Here, you will find most curated shows have detailed catalogues. Also, museums come out with catalgues that become highly collectible.

In my opinion it is important to have text for a show, whether it is a solo or a group exhibition. You may print the catalogue for the show or do an e-copy now and print it at a later date when you have the resources. The important thing is to get a catalogue done, at the least a soft copy, which broadly means the text – a critical essay by a critic/writer/scholar, an artist statement, images from the show with all relevant details and the artist’s biography. Also, part of the text can be printed on the invite, or you can print handouts for viewers.

Why?

1. A catalogue is an important tool for communication

It is a widely known fact that communication is easier through words. Yes, a picture might be worth a thousand words, and you may have produced an excellent series of visual work, but the right text will add perspective to your art and help in communicating better to viewers, buyers, gallerists and the media. It is also highly relevant when you have the catalogue text written for your art now for future shows, particularly exhibitions planned abroad.

2. A well-written catalogue text adds value to your art

Apart from the communication factor, insights provided by the critic, especially if it is somebody well-known and respected from the art field adds value to the exhibition. In a way, just as the venue/gallery where you are exhibiting is important, so are the credentials of the person writing about your exhibition.

3. The text provides a context

Words help in setting your art within a larger framework. The text should offer a critical analysis of your work, its contemporary context and relevance from an art historical perspective and insights into your work. It tells the viewer what to expect and essentially provides a reference point for your art. There are several artists who believe that they would like to refrain from giving textual clues to the viewer, nevertheless, viewers appreciate reading about your art and understanding where you are coming from.

4. The catalogue is part of the documentation process

Presumably, you are documenting your work as an artist that means cataloging images and all other details digitally with regular backups. A catalogue is an important part of this process, which you can use and refer to whenever required. The catalogue also comes in useful when you approach new galleries, collectors and curators.

5. Internet reach

The Internet allows you to reach out to a much larger audience base, which you may not have been able to approach earlier. In fact, you must plan in such a way that your catalogue text becomes more accessible virtually – you can put it up on your website and share excerpts on social media, emails and newsletters. All this enhances your reach considerably and allows you to tap into newer markets.

Commonly asked questions

Who do I approach to write my catalogue text or essay?

Ideally, a well-known critic is the best option, however, if that is not feasible, look for writers who are well established in the art world and who are familiar with your work. For instance, I like to write for artists whose works I can relate to. That way, I can be fair to the artist and do justice to his/her work. Incidentally, you can also have more than one person writing an essay; just make sure that they address different aspects of your art to avoid repetition. Once you have the text you can decide how best to maximise it.

Can I write the text myself?

That would be the artist statement. It cannot be a critical essay on your art. Ideally, you should have both, at least one essay and an artist statement as part of your catalogue, along with all the other elements I had mentioned earlier.

What about costs?

It depends on who you approach for the text. It might be possible for you to get a short essay done for a

couple of thousand rupees by a relatively new writer. But, I would suggest you invest more and have the text written by someone with more experience and better credentials. Remember, how I talked about adding value to your art, that’s one of the reasons you need to approach an appropriate writer who can take your art to another level. Believe me, there are writers who can add so much value to your art.

Apart from the text, there are additional costs in design, layout, compilation, proofreading and printing of the catalog, if you choose to do so. If you print, the cost will also depend on the number of pages, size and copies. But, you can choose to print later and do a pdf now along with an abbreviated copy as handouts. Many artists I know design their own catalogue, which saves them a substantial amount of money.

Look for a sponsor

There are corporates and foundations that will sponsor the catalogue partly or wholly. You can also approach your old collectors and see if they would like to bear costs in exchange of an artwork. Your gallery may also be able to point you towards the right people willing to share costs in exchange for credits and adverts.
You can also opt for fewer words to optimise writer's fees.

Hope this article helps you in deciding about a catalogue for your current art series or your next exhibition. Let me know if you have any more questions or would like me to write your catalogue essay; send me an email at artsceneinfo@gmail.com

No part of this article can be reproduced in part or whole on a blog/website or in print without permission.

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