A mailbox links to Dr APJ Abdul Kalam at the Biennale

Visitors to Aspinwall House can send postcards addressed to former President at India Post stall

Kochi, Jan 31: Visitors to the ongoing third edition of the Kochi-Muziris Biennale (KMB) can now craft and mail postcards addressed to former President Dr. APJ Abdul Kalam through a special letterbox at the India Post stall in Aspinwall House.

KMB co-founder Bose Krishnamachari inaugurated ‘DREAMNATION’, a unique exhibition of such postcards conducted by India Post and non-profit organisation LetterFarms, on Monday. The exhibition, based on the hugely popular community art project ‘dearkalamsir’, features a collection of poignant writings or drawings addressed to the former President.

Following the inauguration, 11 fine arts students from local colleges kick-started the initiative, which encourages senders to express their dreams and aspirations on the cards. Intended as a “tribute to the man who taught the country to dream”, the opportunity to participate is open to all till the Biennale closes on March 29.

“Due to its public nature, a postcard is one of the most honest and transparent mediums of communication and expression. As well, it is a powerful and visible marker of memory. It is a pleasure to be part of a programme that aims to both encourage creativity and honour a great leader like Dr Kalam,” Krishnamachari said.

The postcard tribute campaign to Dr Kalam was started last year. “We started this to mark Dr. Kalam’s 85^th birth anniversary in 2016 by requesting the thousands he inspired to post wishes for India’s Rocketman. We would get over 3,000 post cards a week – the biggest ever postal campaign for a leader,” said Jubie John, South Asia Programme Director at LetterFarms.

A city post box, Post Bag No. 1683, under the care of LetterFarms fills in as the address for the campaign, which will also be taken to major literature festivals in New Delhi and Lucknow.

“Eventually, we plan to make a book compiling all the postcards received over this campaign,” John said. Officials from the postal department and Biennale artists also attended the function.

‘Biennale is a place to look at life with insight, inquiry and curiosity’: Anand Gandhi

Noted filmmaker said KMB is a growing movement that is shaping global and local communities

Kochi, Jan 28: On his first visit to the Kochi-Muziris Biennale (KMB) in 2014, filmmaker Anand Gandhi was surprised to find a familiar work in exhibition: the iconic 1977 film Powers of Ten.

“The short piece of cinema had helped shape our perspectives as filmmakers. To see it here in Kochi was wonderful. Now, I'm always looking for that spark of magic: to be surprised, to be shocked, to be forced to look at things in ways I hadn't previously considered,” Gandhi said.

Noted filmmaker Anand Gandhi and actress Kani Kusruti at Aspinwall House during their visit to KMB 2016

On a visit to KMB 2016 last week, the Ship of Theseus director noted that the Biennale is a place where “insights, inspirations and epiphanies” are shared. “This is the reason I am back here again: to look at life with insight, inquiry and curiosity. This is a deeply inspiring place,” he said.

This inspiration has spread to the local communities, the National film award winner observed. “Each time I'm here, I get the sense of a growing movement. How this space has provided an opportunity to people from this part of the world who would otherwise not been able to interact with its insights and playfulness,” he said.

Noted filmmaker Anand Gandhi and actress Kani Kusruti at Aspinwall House during their visit to KMB 2016

“The impact a movement like this has on global and local communities: it will expand the scope of our language, our know-how, our ways of understanding and it is going to inform our lives. I'm seeing that there is a progression and growth in that aspect between editions,” he added.

Noting that “we are all cartographers of time, reality and space working with shared maps”, Gandhi said, “The Biennale is a place where this sharing is going on. Each time I come here, I leave with enough to sustain me till the next time.”

Gandhi singled out the work of eminent litterateur and KMB 2016 participating artist Anand – titled Map-Makers and Map-Breakers: Space-to-Time along the Maps – as being particularly in sync with his view about the “politics and distortions of cartography and how distortion is unavoidable in cartography”.

Inspired by the Biennale’s spirit of involvement, Gandhi said he was hoping to “contribute to the conversation in some small way”. “I would love to come back here and share with the community the virtual reality experiences we have been creating over the past year,” he said.

Vintage cars roll into Biennale for Republic Day rally

Kochi, Jan 28: It was a trip down memory lane for visitors at Aspinwall House on Thursday as a fleet of classic rides and rods pulled into the primary venue for the ongoing third edition of the Kochi-Muziris Biennale (KMB).

A total of 22 vintage cars rolled through the city streets – starting from Panampilly Nagar and ending up in Fort Kochi, where they stood on display for an awestruck crowd. The rally and exhibition was organised by the KMB in association with Cochin Vintage Club as part of Republic Day celebrations at the Biennale.

Vintage cars exhibited at Aspinwall House, main venue of Biennale, organised as part of Republic Day celebrations by Cochin Vintage Club in association Kochi Muziris Biennale

The head-turning line-up featured the 1946 model of the legendary Austin 16, a 1955 Dodge rover, a red hot Triumph Herald besides a sampling of Fiat, Ford and Mercedes Benz beauties. There was even a 1957 Hindustan Motors Landmaster, the fore-runner to the Ambassador.

“The preservation of vintage cars is our main objective,” says Rinesh Ravi, President of Cochin Vintage Club. “Over the years, the Biennale has upheld the importance of heritage preservation, which strikes a chord with our policy. It was this common trait that made today’s collaboration possible,” Ravi said.

“For us, these cars are works of art. A lot of effort and heart has been put into the preservation and maintenance of this precious collection. The process of getting these beauties back into road shape is comparable to putting up an installation,” he contended.

Besides the cars, there were five motorcycles also on display. These included a Jawa, a Yezdi and a Rajdoot. An awareness campaign offering guidance on road safety measures and driving manuals was also conducted as part of the rally by Junior Chamber International Cochin Metro.

Vintage cars exhibited at Aspinwall House, main venue of Biennale, organised as part of Republic Day celebrations by Cochin Vintage Club in association Kochi Muziris Biennale

“We are happy to associate with Cochin Vintage Club and show solidarity with their concern for the upkeep of and maintaining interest in heritage cars and bikes. These proud automobiles are an integral part of history of machines,” said renowned artist Riyas Komu.

Prior to the rally, there was a flag-hosting ceremony to mark Republic Day. KMB co-founders Bose Krishnamachari and Komu along with Kochi Biennale Foundation General Manager N.P. Kurien and KMB 2016 participating artist P.K. Sadanandan helped unfurl the tricolor at Aspinwall House.

‘Biennale is poetic, slow and subtle’ : Dayanita Singh

Acclaimed photo artist said multiple visits were required to get KMB 2016 to reveal its vision

Kochi, Jan 27: For Dayanita Singh, the ongoing third edition of the Kochi-Muziris Biennale (KMB) requires repeat visits in order to truly appreciate its ‘poetry’ and subtlety. 

Dayanita Singh at Daniele Galliano's space 'Bad Trip India' during the visit to  KMB 2016 main venue, Aspinwall House, Fort Kochi.

Following her second visit to KMB 2016 this week, the renowned artist said the Biennale was “how art was meant to be exhibited”. “This is a very poetic, slow and subtle Biennale. It is not in your face, it’s something that stays with you. This is what I love about the KMB,” Singh said.

An acclaimed photo artist and image-maker, Singh had been to the Biennale shortly after its opening on 12/12/16. Following her tour of Aspinwall House, she noted that a third visit would be needed if she wanted to see the evolution of the artworks over time.

“I am fascinated that this Biennale has thrown up so many works that just linger in my mind when I travel. You have to keeping back to it. The last time I was here, I would go to Sharmistha Mohanty’s room as a way of slowing myself down and then end up on the benches at Camille Norment’s space. This was my parikrama,” she said.

Dayanita Singh at Prabhavati Meppayil's installation 'Melting Pot' during the visit to  KMB 2016 main venue, Aspinwall House, Fort Kochi.

It takes this investment of time and energy to coax the Biennale’s vision to reveal itself, Singh observed. “It’s not like ‘these are the great artists’ or ‘these are the great works’, which is a big relief. Of course, there are aspects that you would like more of and some works you want to keep coming back to,” she said.

“What holds it all together is Sudarshan Shetty and his vision. If you think of this Biennale as a large work that comes from within his mind, then it is absolutely fascinating,” said Singh, who was a participating artist at KMB 2014.

“Having an artist as the curator is what makes the KMB so unique. An artist-curator is very different from a curator and I see that at this Biennale because I really feel the different aspects to Sudarshan’s thinking in the works that he has selected,” she said.

‘Perspectives, ideas at Biennale can be adapted to film’: Priyadarshan

Veteran filmmaker termed his first visit to the Biennale on Saturday a ‘learning experience’

Kochi, Jan 23: Observing that an interesting frame can be found anywhere provided one perceives it as such, celebrated filmmaker Priyadarshan said the variety of perspectives and concepts at Kochi-Muziris Biennale (KMB) 2016 can be adapted to film.

Filmmaker Priyadarshan at artist Istvan Csakany's installation 'Ghost Keeping' at KMB 2016 in Aspinwall House,Fort Kochi 

A favourable shooting schedule meant the director of more than 100 films across industries and languages was able to visit the Biennale for the first time on Saturday. He termed it a “learning experience that satisfied the artist in me”.

 “As a filmmaker, I think many of the ideas are adaptable in terms of medium. When I was going around and looking always at the points of view expressed by different people on similar issues, I asked myself why I didn’t think about this. This is also something we can show on screen and there were several things I thought I should try in my films,” Priyadarshan said

“Expressions of creativity are like the sea or the sky: there are no limits. There are things I understood and others that I did not, but I appreciated the aesthetic sense behind the Biennale. Unlike the boring spaces in art galleries, the KMB is the venue for these expressions,” he added.

Singling out the photography of KMB 2016 artist K.R. Sunil, Priyadarshan said, “I never thought Kerala could be shot like this. Looking at his stills of Ponnani, I felt that I had to go there immediately and find a story around the town. The looks and the ways he has framed it and the realism and story behind each photo was inspiring.”

‘Artists’ Cinema a platform for serious works’: Joshy Mathew

Award-winning filmmaker Joshy Mathew also visited the Biennale recently. Besides the works on display, he appreciated the Kochi Biennale Foundation initiative to screen serious films as part of its ongoing ‘Artists’ Cinema’ series at the Pavilion in Cabral Yard, Fort Kochi.

Filmmaker Priyadarshan with Kochi Biennale Foundation President Bose Krishnamachari at Subrat Kumar Behera's installation 'Mythological Paradigm Prophesied' at KMB 2016 in Aspinwall House,Fort Kochi

“For filmmakers, the initiative provides a platform to promote serious Malayalam cinema in front of an international audience. Moreover, we can market our films more intensively in the international film festival circuit after being screened in such an internationally acclaimed art festival like the Biennale,” said Mathew, whose film Black Forest won a National award in 2012.

High-profile visitors call for more art fests along the lines of KMB in India

Kochi, Jan 16: Describing the Kochi-Muziris Biennale (KMB) as the ideal place to come gain an appreciation for art, a high-profile delegation of officials from Bihar said an upcoming space for contemporary art in that state would look to India’s only Biennale for inspiration.

“The Biennale is excellent, well-curated and showcases a vast variety of artworks. This first-of-its-kind exhibition in India has surely educated people about the importance of art appreciation. We are looking to make a world-class museum in Bihar that will have a gallery for contemporary art,” said Mr. Anjani Kumar Singh, Chief Secretary, Government of Bihar.

Mr. Anjani Kumar Singh ,Bihar Chief Secretary at Miller Puckette's installation 'Four Sound Portraits at KMB 2016 in Aspinwall House,Fort Kochi.

The Chief Secretary had led a group of officials from Bihar on a visit to KMB 2016 over the weekend. Accompanying him on the trip were Mr. Chaitanya Prasad, Secretary, Department of Art, Culture and Youth and Principal Secretary (Urban Development and Housing), and Dr. Jai Prakash Narayan Singh, Additional Director at Patna Museum.

“I am very impressed with the sound and video installations. Looking at the large-scale works like ‘The Sea of Pain’ by Raul Zurita, ‘The Pyramid of Exiled Poets’ by Aleš Šteger and ‘Floating Towards the Night Sky’ by Eva Schlegel and Carl Pruscha, I think it is very unfortunate that India does not have a number of biennales or long-term art exhibitions of this sort like the many art festivals we have on music,” Mr Singh said,

Mr Prasad also appreciated Biennale, noting that the nearly three-month celebration of contemporary art had become a fixture on the art calendar. Dr Narayan Singh said the planned contemporary art gallery in the upcoming Bihar museum project would house works by eminent artist and KMB 2016 curator Sudarshan Shetty.

Also making his first visit to the Biennale on Sunday was Mr. Sabyasachi Mukherjee, Director General of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya.

Expressing gratitude to the Kochi Biennale Foundation for providing young artists, creative minds and the common man the opportunity to view artworks of an international standard, Mr. Mukherjee said, “This is an amazing experience and I will carry it with me wherever I go. The Biennale has set an example for major cities in India. I hope we introduce more biennales in other parts of the country.”

He said that it was difficult to select the best installations among the over 100 exhibited artworks as each piece was the product of a very talented mind.

गुरू की वापसी (रिटर्न ऑफ द गुरू) रजा फाउंडेशन द्वारा शास्‍त्रीय संगीत और नृत्‍य में गुरू उत्‍सव का आयोजन

शिक्षक की भूमिका को उजागर करने के लिए 2 दिन का समारोह 17 जनवरी से दिल्‍ली में

नयी दिल्‍ली, 13 जनवरी : देश के चार जाने.माने कलाकार दिल्‍ली में आयोजित नृत्‍य और संगीत के दो दिवसीय समारोह में अपनी कला का रंग बिखेरेंगे। 17 जनवरी से शुरू हो रहे इस समारोह का आयोजन रजा फाउंडेशन ने किया है।

 ' महिमा ' नाम से आयोजित होने वाला यह समारोह आधुनिक भारतीय चित्रकार सैयद हैदर रजा की स्‍मृति में आयोजित किया जा रहा है जिसमें भारत के मनमोहक अदाकारों की परम्‍पराओं में गुरू की मौजूदगी, उसका अर्थ और उसकी प्रासंगिकता को उजागर करने का प्रयास किया गया है।

रजा फाउंडेशन के प्रमुख अशोक वाजपेयी ने बताया, "चारों कलाकार शिक्षक की भूमिका में, वैयक्तिक परिकल्‍पना के संस्‍थापक और शास्‍त्रीय संगीत और शास्‍त्रीय नृत्‍य में प्रवर्तक  के रूप में गुरू की उपस्थिति खोजेंगे"।

'महिमा.गुरू की वापसीष' (रिटर्न ऑफ द गुरू) समारोह की शुरूआत ग्रैमी पुरस्‍कार के लिए नामजद इमदाद खान घराना के सितार वादक उस्‍ताद शुजात खान त्रिवेणी कला संगम में करेंगे। उस्‍ताद शुजात खान सितार के तार कुछ इस तरह छेड़ेंगे जिससे उनके पिता और गुरू मशहूर सितार वादक उस्‍ताद विलायत खान की स्‍मृतियां उभर जाएंगी।

प्रसिद्ध सितारवादक ने कहा, "उन्‍हें इस समारोह में सितार बजाने का इंतजार है जिसमें हमारे जीवन में हमारे गुरू की भूमिका को उजागर करने और उसे गौरवान्वित करने का अवसर मिलेगा। हम जो कुछ भी अपने गुरूओं से सीखते हैं जितनी बार हम अपने वाद्य यंत्र उठाते हैं वह हमारी कला में शामिल होता जाता है।"

उसी दिन कपिला वेणू कूडीयट्टम नृत्‍य प्रस्‍तुत करेंगी। कपिला ने केरल का यह परम्‍परागत नृत्‍य अपने पिता के गुरू मशहूर नर्तक अमानुर्र माधव चकयार से युवावस्‍था में सीखा। सा‍थ ही उन्‍होंने अपने शुरूआती वर्ष उषा नांगियार के साथ बिताए जो चकयार की शागिर्द थीं। उनके पिता कूडीयट्टम नर्तक जी वेणू ने बाद में उन्‍हें अमानुर्र माधव चकयार ने अपने संरक्षण में ले लिया।

कपिला ने कहा, "मैं इसे ईश्‍वर का वरदान मानती हूं कि शुरूआती वर्षों में मुझे अपने गुरूजी से सीखने को मिला और बाद में मेरे पिता मेरे उस्‍ताद बने। मुझे इस समारोह का बेसब्री से इंतजार है, जिसमें गुरू की भूमिका को उजागर किया जाएगा।" 

समारोह का दूसरा दिन जयपुर.अतरौली घराना की अश्विनी भीड़े के खयाल वादन से होगा। संगीत के क्षेत्र में कबीर के भजनों की गायकी के लिए मशहूर मुम्‍बई की इस गायिका ने नारायणराव दातार और अपनी मां माणिक भीड़े से प्रशिक्षण लिया। पंडित रत्‍नाकर पाई 2009 में अपनी मृत्‍यु तक उनके गुरू रहे। 

समारोह का समापन मशहूर ओडिसी नृत्‍यांगना माधवी मुदगल के नृत्‍य से होगा जो अपने गुरू केलूचरण महापात्र को केन्‍द्र में रखकर नृत्‍य प्रस्‍तुत करेंगी।

माधवी ने कहा, " मैं उनकी नृत्‍यकला को प्रस्‍तुत करूंगी जो मैंने कई वर्ष पूर्व उनसे सीखी थी। यह विशेष कार्य है और विभिन्‍न टुकड़ों का समावेश है। हम केवल उस घेरे का विस्‍तार कर रहे हैं जो कुछ भी हमने उनसे सीखा है।"

रजा फाउंडेशन के कार्यकारी ट्रस्‍टी अशोक वाजपेयी ने बताया कि यह कार्यक्रम पिछले वर्ष मित्रों की निजी पहल पर पहली बार आयोजित किया गया था। इसके बाद यह दिल्‍ली में इसने इस तरह के वार्षिक मंच का रूप लिया है। 

 वाजपेयी ने कहा "इस  कार्यक्रम के केन्‍द्र में गुरू रहेंगे जिनकी भूमिका आज कमजोर हो गई है हांलाकि गुरू के सम्‍मान का ढोंग बहुत हो रहा है। रजा फाउंडेशन ने इस प्रयास को वार्षिक कार्यक्रम बनाने का फैसला किया है। हमने युवा शागिर्दों को केन्‍द्र में रखकर  'उत्‍तराधिकार ' कार्यक्रम आयोजित किया जिसकी पिछले वर्ष जाने.माने गुरूओं ने सिफारिश की थी। दोनों ही कार्यक्रम अब हर वर्ष आयोजित होंगे।

‘KMB cannot be duplicated in any other part of the country’: Madhya Pradesh Tourism Secretary

Kochi, Jan 11: For Mr. Hari Ranjan Rao, Tourism Secretary, Madhya Pradesh, the strength and popularity of the Kochi-Muziris Biennale (KMB) owes much to its setting in the unique cultural environment and geographical contours of the host city.

Mr. Rao led a team of high-profile officials from MP Tourism that visited Aspinwall House, the main venue of the Biennale, Tuesday evening. He said the 108-day event had emerged as a major attraction for both art aficionados and laypersons alike.

“Kochi has its own charm and unique cultural ethos. We cannot duplicate the Biennale in any other part of India. Moreover, getting artists from across the globe to contribute and showcasing their works in one place is a great achievement,” said Mr. Rao, who said the Biennale is today one of the state’s major tourist and cultural attractions.

Describing KMB as a magical space that freed visitors from their worries and gave them the freedom to think creatively, he said, “Art appreciation is only possible if you are away from all routine stuffs. This space has the power to free visitors from all other thoughts.”

Ms. Tanvi Sundriyal, Additional Managing Director, MP Tourism, said she was especially impressed by the lively atmosphere and opportunity to indulge in debate.

“This place reminds me of my college where we used to discuss poems and arts and debate over and over. The Biennale is a space which energises anybody and everybody,” she said.

Mr V.T. Balram, MLA, also visited the KMB main venue on Tuesday.  “India’s only Biennale is a cultural pathway to popularise Kochi to the foreign countries,” he said.

“Art appreciation is a unique quality and the Biennale attracts visitors because it offers them an opportunity to indulge their interest in art. The Biennale is a big boost to the cultural sector of India in general and Kerala, specifically,” Mr. Balram noted.

सामूहिक कला का प्रदर्शनी का उद्घाटन

पटना, १० जनवरी ; आज कला संस्कृति एवं युवा विभाग, बिहार एवं बिहार ललित कला अकादमी, पटना के संयुक्त सौजन्य से कला मंगल के अंतर्गत छपाकला एवं छायाकला  की सामूहिक कला प्रदर्शनी का उद्घाटन बहुद्देशीय सांस्कृतिक परिसर , पटना में हुआ। 15 जनवरी तक चलने वाली इस प्रदर्शनी का उद्घाटन अकादमी के अध्यक्ष आनंदी प्रसाद बादल ने किया। प्रदर्शनी में सुनील कुमार, रवि राज, गोविन्द जी, विक्की कुमार वर्मा, छाया, रंजीत कुमार, शम्भू प्रकाश, आदित्य सुमन, कौटिल्य निशान्त, शैली कुमारी एवम किरण कुमारी की कृतियाँ प्रदर्शित की गई है।

प्रदर्शनी के उद्घाटन अवसर पर कैटलॉग का विमोचन भी किया गया 

 

Padmini Chettur composes new language of the body in ‘Varnam’

Three-hour dance composition resists rigidity to tradition, form and intent in classical dance

Kochi, Jan 10: The title of Padmini Chettur’s choreographic performance ‘Varnam’ references the taxing central piece in the Bharatnatyam repertoire. The varnam, considered a measure of the dancer’s ability in – and fidelity to – the form, literally means ‘letter’. Chettur reinterprets this to compose a language of the body.

Padmini Chettur's performance 'Varnam' at KMB2016 in 

 David Hall,Fort Kochi

“I have tried to transpose a physical vocabulary into the traditional Bharatanatyam lexicon. The body is an anatomical instrument in Varnam with the individual jathis (voice-movements), reconstructed. While there are many elements to the performance, it is really a work of bodies in spaces and of things that happen to bodies, between bodies and the space,” Chettur said.

If the conventional intent of the varnam is to convey the beauty, grandeur and soulfulness of worship in love, Chettur’s composition – which premiered during the ‘Opening Week’ of the ongoing third edition of the Kochi-Muziris Biennale (KMB) – loses none of the profundity in its explorations of eroticism, longing, loss and romantic love.

In a critique of the rigidity of classical Indian dance conventions, the new iteration explores the suffering and strength of the heroine who is abandoned by her lover. Using slow, deliberate movements, the performers mimic the sense of distance and longing while departing from the narrative of chaste victimhood.

Padmini Chettur's performance 'Varnam' at KMB2016 in  David Hall,Fort Kochi

The three-hour performance installation saw the Chennai-based Malayalee artist and her group of five dancers seated on chairs in David Hall with no restriction on audience movement. The week-long series followed a unique style, using specially created gestures and steps, popular songs as well as narration from texts by a number of contemporary writers that were in sync with the performance’s theme and tone.

Varnam has since been reconfigured into several 22-minute performances and displayed as a three-channel (16:9) video projection at David Hall for the duration of the Biennale. Despite the limits imposed by the format, Chettur said the video was sensitive to the multi-dimensional nature of the performance – a mixture of sound, energy and image.

“I present a radically altered take on the Mohamana Varnam, one of the form’s most iconic pieces, and added text. There are also sounds, visuals and the movement of the dancers in their own spaces,” said Chettur, who pointed out that the invocation of the dance form’s pièce-de-résistance and the upturning of its meaning is intended as an act of resistance.

No less structured or rigorous than the classical form, Chettur’s interpretation rejects the mythos and seductive aspects of Indian classical dance traditions in favour of a taut radical vision for what contemporary dance of India should be and look like.

“I don't work with narratives anymore. In the last few years, I have been specifically interested in working in spaces such the Biennale: really taking the practice outside tradition and form to work with the walls and emptiness and deal with the idea of projecting energies,” said Chettur whose previous piece ‘Wall Dancing’ was created to be viewed in museums and galleries.

“It was a real challenge for me to bring the piece to the Biennale, to remove the formality from a very formal work, but it was eventually my choice and strategy to do it. In a way, this is exactly the platform to challenge the notions of putting live bodies into a space that is traditionally reserved for objects and images,” she said.

Jonathan Owen presents acts of ‘elegant vandalism’ at KMB 2016

Artist practices production by removal through carved-into marble sculptures, erasures in photos

Kochi, Jan 09: A woman with no name sits perched on a pedestal in Pepper House to be gawked at. In another time, she was a marble beauty. Where once there was a face, she now wears a ball and chain. She remains, however, a work of art.

For Jonathan Owen, his sculpture – part of an ongoing series of works called ‘Untitled’ – is a look at how women are made prisoners of the beauty myth. But beyond this allusion, his removal of the facial features is intended to be a “rejuvenation” and “reactivation” of the work.

Jonathan Owen's with his installation 'Untitled' at KMB 2016
 in Pepper House,Fort Kochi.

The Scottish artist is showcasing his brand of “elegant vandalism” at Kochi-Muziris Biennale (KMB) 2016. Vandalism since his artistic interventions involve carving into existing artworks – the marble bust above was bid for at an auction – and takes away their names and histories.

In so doing, he inserts himself into their stories. This act of production by removal and reshaping is a “nerve-wracking” process, Owen said.

““I do think about the work and time put into the sculptures by their creators. Some of the works are centuries old and I reflect on this before working to recreate them. Though the figures are disjointed, I like to think I have transformed them into intriguing puzzles from the biographical objects they were meant to be,” Owen said.

The transformation of existing objects and images through his “two-dimensional carving” method allows Owen to showcase both the systematic nature of his artistic process as well as his take on the intent of the sculpture’s original artist. The dimension of time is thus built-in to the artwork – hence his referring to them as “three-dimensional”.

 “I leave behind traces of what had been. While the details of the torso such as the cross were kept intact, the head was made barely distinguishable. The figure was thus de-humanised and transformed into an unsolvable puzzle,” Owen said.

Similarly, Owen builds an alternate history with his ‘Eraser Drawing’ series – a collection of which line the walls of the enclosure that houses the marble bust described above. Taking an eraser and rubbing out figures and layers from original photographs and film stills, he leaves ghostly reminders of what was once there while presenting additional possibilities.

“Unlike the sculptures, I don’t add anything to the surface of the image. Making the decision on which feature or figure to remove or retain is mostly intuitive. It would be a breeze to do this with photo-editing software, but leaving some residue of this imperfect intervention is important too,” Owen said.

कला मंगल की अगली कड़ी " छायाकार-सह-छापाकला के युवा कलाकारों के कलाकृतियों की समूह प्रदर्शनी

पटना ७ जनवरी : कला मंगल श्रृंखला के अंतर्गत छायाकार-सह-छापाकला के युवा कलाकारों के कलाकृतियों की समूह प्रदर्शनी  दिनांक 10.01.2017 से 15.01.2017 तक पटना के बिहार ललित कला अकादमी की कला दीर्घा  में आयोजित होने जा रही है।  प्रदर्शनी में सुनील कुमार, रवि राज, गोविन्द जी, विक्की कुमार वर्मा, छाया, रंजीत कुमार, शम्भू प्रकाश, आदित्य सुमन, कौटिल्य निशान्त, शैली कुमारी एवम किरण कुमारी की कृतियाँ प्रदर्शित की जाएगी।   

     

Fine arts students find new perspectives, avenues for artistic expression

Nearly 50 students from MSU Baroda are taking in the artworks and ambience of KMB 2016

Kochi, Jan 07: For a group of nearly 50 fine arts students from Baroda, the out-of-state field trip to the ongoing third edition of the Kochi-Muziris Biennale (KMB) has proven to be an eye-opening experience.

Taking in the artworks and soaking in the “authentic feel” at India’s only Biennale, the students from Maharaja Sayajirao University (MSU) Baroda – many of whom were on their first visit here – found both diversity of perspective and avenues for experimentation in their individual artistic expression.

Kochi-Muziris Biennale founder Bose Krishnamachari with the fine arts students from MSU Baroda at Aspinwall House on Saturday 

“It has changed my existing notions and views of what art could be. The way the Biennale has been curated shows how intricately engaged the artworks are with the exhibition space. The visual quality on display has given me so much pleasure,” said Pujashree Burman, a Master of Visual Arts student, who especially enjoyed the works of Desmond Lazaro and Liu Wei.

KMB co-founder Bose Krishnamachari invited the group to take a walk through the venues and spaces and explore the multiplicity of styles, forms and viewpoints as intended by this edition’s curator Sudarshan Shetty.

“Sudarshan didn’t intend for there to be one direction or way of looking at the Biennale. There are multiple perspectives and diverse ways of looking at art. It is especially important for art students to be exposed to this understanding since they are tomorrow’s artists. I’m certain their experience here will be enlightening,” Krishnamachari said.

The students – from a number of disciplines within the Faculty of Fine Arts – said the authenticity of the Biennale set it apart from other art events and art spaces in the country.

Kochi-Muziris Biennale founder Bose Krishnamachari with the fine arts students from MSU Baroda at Aspinwall House on Saturday 

“The Biennale feels uncontrived and not commercial – unlike the rest of the industry. How raw and real the sites are and how this rawness interacts with the works: this has been a very different experience from the other art fairs and gallery spaces I have visited so far,” said Ragini Chawla, a third year BVA student from the painting department.

BVA students Aadya Swaroop Naik and Stuti Bhavsar said the Biennale did not exhibit “art for art’s sake” and felt like a more “refreshing, immersive experience compared to manicured, spic and span galleries”.

“It’s not just one kind of art on display here. There are exhibits in video art, visual art, sound art… you are exposed to a variety of art forms and styles. As an art student, it was important to come see what I could do and the options available to me,” said Kopal Seth.

‘Art Walk’ takes KMB 2016 visitors on guided tour of works, processes

Tour delved into thinking behind six distinct artworks being house at TKM Warehouse

Kochi, Jan 07: The interplay of narrative between six distinctive artworks set the tone for a guided walkthrough of TKM Warehouse in Mattancherry – one of the 12 venues for the ongoing third edition of the Kochi-Muziris Biennale (KMB).  

The quiet space houses the works of KMB 2016 participating artists Alicja Kwade, Endri Dani, Aki Sasamoto, Alex Seton and T.V. Santhosh. The ‘Art Walk’, conducted by trained interpreters, took an enthusiastic crowd through the insights and background behind the individual pieces.

KMB 2016 participating artist Alex Seton offered insights into his art practice and marble sculpture 'Refuge' during the 'Art Walk' held at TKM Warehouse in Mattancherry on Friday 

The tour on Friday evening culminated in a talk by Seton on the intent and inspiration of his marble sculpture ‘Refuge’. Depicting an emergency blanket draped around a hollow space in the shape of a quivering figure, Seton said the work is rooted in the international refugee crisis – in particular the treacherous journey undertaken by ‘boat people’ in search of safer shores.

“The term refugee has a negative connotation today and it should not because asylum seekers, migration and displacement have been constants throughout human history. We could all have been refugees but for circumstance,” he said.

Noting that his practice plays off of contemporary global issues mostly within an Australian context, the Sydney-based artist said he had been inspired by the real-world relevance of works exhibited at the Biennale.

KMB 2016 participating artist Alex Seton offered insights into his art practice and marble sculpture 'Refuge' during the 'Art Walk' held at TKM Warehouse in Mattancherry on Friday 

“I’m thinking of co-opting some of the narratives I have been able to witness into my art practice. Given the multiplicity of perspectives at the Biennale, the scope for evolution of the artworks over its duration is tremendous,” Seton said.

The other works on display at TKM Warehouse are Kwade’s exhibit ‘Out of Ousia’, the ‘CM 182 2016’ portraits by Dani, Sasamoto’s performance-based installation ‘Random Memo Random’ and two works, ‘The Protagonist and Folklore of Justice’ and ‘History Lab’ by Santhosh.

“It is wonderful to have the opportunity to not only experience world-class, incredibly relevant works at the Biennale, but also the chance to understand the thinking and logic behind them,” said KMB co-founder Bose Krishnamachari.

‘Triumph of Labour’at Students’ Biennale

Students from TN interpret iconic Marina beach statue at Kochi

Kochi,Jan 05: Inspired by the iconic ‘Triumph of Labour’ statue at Chennai’s Marina beach, a group of art students from Tamil Nadu are exhibiting a series of installations here under the same name,as part of the Students’ Biennale that runs parallel to the ongoing Kochi-Muziris Biennale 2016.

Art works on display as part of Students Biennale at Anubhuti Gallery, Mattanchery

Motivated by the first May Day rally in India held at the Marina beach, sculptor Debi Prasad Roy Chowdhury,  who headed the then Madras School of Arts and Crafts crafted in 1959 the iconic bronze statue depicting the working class’ toil. He used the watchman of the college and his students to model for the monumental piece of work that depicts four men labouring to move a rock.

Multiple interpretations of the Labour Statue created by the students are now on display at Anubhuti Gallery,  at Mattanchery, one of the venues of the Students’ Biennale.

Art works on display as part of Students Biennale at Anubhuti Gallery, Mattanchery

“The idea behind these installations originated from an enigma,” says C P Krishnapriya , curator of Students’ Biennale.

The Madras School of Fine Arts and Crafts, which is now Tamil Nadu Government College of Fine Arts has an old museum which has been closed for decades. “Several stories and speculations were attached with this museum,” says Krishnapriya. “Thinking about the different kinds of creative expressions that could go to fill the mystery gave rise to the idea for the statues,” she says.

Seventeen students from Government College of Fine Arts, Chennaiand 18 from the Government College of Fine Arts, Kumbakonam worked for the Students’ Biennale project. “Most of the students had experience working with the handicraft sector. This experience with the cottage craft industry must have helped them relate to this project,” says Krishnapriya.

Art works on display as part of Students Biennale at Anubhuti Gallery, Mattanchery

From labourers in uniforms to sweat drops collected in bottles, the installations portray diverse creative expressions. The symbols of weaving, coconut weaving, brick making have all made this project an enriching experience.

The heritage building of the Chennai Fine Arts College is made of traditional bricks, a model of which is replicated in the art work, with students recreating the original brick mould used in building the college with rubber.

Students’ Biennale, an integral part of KMB 2016 is spread along seven venues at Bazar road and Jew town at Fort Kochi. 455 students from 55 government fine arts colleges have participated in Students’ Biennale with 15 senior fine arts students curating the exhibition.