Dada and Surrealism in the Indian Context
With historic and ancient works showcasing the range of the Indian imagination which constantly distances us from reality, when and where can we say the trajectory of Surrealist and Dada art began in the Indian context.
The Shadow Trapper's Almanac: An interview with Tanmoy Samanta
The artist, Tanmoy Samanta is intrigued by watchmakers who are the keepers of time.He delights in the irony of watch dials that do not tell time anymore, and therefore creates, in this work and others, a “cluster of timelessness”. We sit down with the artist to unravel his process and find out what makes him tick.
Disturbing the Petals
Samanta’s work, like the watchmaker’s, bears the same loss of time, the recall of memory and the play of time where forgotten object metamorphosize into a landscape of the remembered.
Public Art and Urban Futures
Mumbai is a blank canvas and with a barely existing notion of aesthetics and cleanliness of public spaces, public art is not only reviving bare and dull walls, but creates a social process, an interaction between humans and urban spaces, and a certain identity for the city.
5 Tips for a Novice Art Enthusiast
You find yourself harboring secret fantasies of strolling into art galleries and museums but don't know where to start? We've got a couple of tips for you!
Art and Iconography in the Public Sphere
Within the wider questions of what constitutes a city, are questions pertaining to the role and function of art and design in public spaces and the extent to which they can enhance community development.
Dream Caused by Last Mango Before the Monsoon: An interview with Payal Kapadia
The sound of rain, a dimly lit room, a woman sitting on the edge of her bed, savoring the last pieces of a mango, the last one before the end of the season. The gushing sound of wind and crickets chirping outside.
AUTUMN OF THE PATRIARCH: Reflections around Zishaan Akbar Latif’s 95 Mani Villa
Zishaan’s photographic memoir of his grandfather, his attempt to bridge the silence between the generations and grasp the visceral reality of the older man’s experience, all the years of his life that the younger man knew only at second hand, from the hushed annals of family folklore, appeals to me in deep and powerful ways.
Sounds of Silence
The gallery is dark except for the glow of the light boxes and quiet except for the mournful, melancholic sound of Ibrahim Maalouf’s track ‘Beiruit’.
The month of Ashaad is upon us and while the rains seem to have disappeared, leaving Bombay sweltering, I find immense comfort in this Baramasa painting of Ashaad.
Thoughts on Mike Bartlett’s BULL...directed by Jim Sarbh, performed at TARQ
“…for some reason with you, I feel the need to bring you down, I think it might be an evolved thing in a society, in a culture, that if we see someone who’s going to bring down the whole tribe or whatever, someone who’s really going to fuck up the rest of us because they’re stupid or slow or weak or thin or short or or ugly or has dandruff or something you have the desire deep within you to take them down first to strengthen the tribe..."
This is a conversation that begins with Ayesha Aggarwal’s interview of Soghra Khurasani, in a previous blog post. I read the post, and a review of the show and noticed how the artist asserts her “I am not a feminist and neither is my art” stance. This vehement statement caught my attention and wondered what it was to be a feminist in the 21st century. Furthermore, I question the boundaries of feminism, feminist art, and the notions of femininity
Reading the Ramayana
We tell stories. That is what we do. Sometimes they are mundane like a walk to the market, at other times they are fantastic like a conversation with the bhaajiwalli and sometimes they are exaggerated like a conversation about your families past. We tell them so we don’t forget. And so the answer is: why not? There are walks through unknown lands, there are demons with spears large enough to hold lions and elephants and deer and there are monkeys
One day it will come out… An interview with Soghra Khurasani
Tall and slender, with a gentle, toothy smile and brown eyes, dressed in the traditional artists attire of jeans and a knee length kurta, Soghra Khurasani is as modest and unpretentious as she looks. She is reluctant to be photographed or interviewed, so I befriend the shy woman behind these relevant, powerful and stunning works of art in an attempt at a candid interview.