WEAVING AVANT-GARDE- – Krispin Joseph PX
Making textile is considered itself an art practice in antiquity. The continuing exercise of creating and transforming the richness of the cloth in the contemporary art world is an enduring activity. Weavers are indigenous art practitioners engaging with cultural settings…
EARTHLY MANIFESTATION OF LORD SRI VISHNU AT SRIRANGAM- Apurva Sinha
‘vede rāmāyane caiva purāne bhārate tathā ādāv ante ca madhye ca harih sarvatra gīyate’- Bhagavad Gita Imagine, you are in a meditative loop and you wait for the religious experience to happen which could be in the form of a…
THE REVIVAL OF THE TRIBAL MANADANA ART OF RANTHAMBORE: Ensuring sustainable livelihood to the downtrodden tribal women painters- Prof. Dr. Chinmay Mehta
When we go through the history of Modern Art we find how French modernists were liberated from the age-old conventional naturalistic and photorealistic trends in art. Modern French painters started exploring alternative art forms of other countries breaking all the…
How Women Became A Medium of Social Critique For Artist Bikash Bhattacharjee – Sneha Gautam
A mention of artist Bikash Bhattacharjee brings to mind the large repertoire of his spellbinding portraits, which depicted Bengali people from different classes and social milieus, especially women. Portraying his subjects with minute details of their form and depth in…
Auschwitz: Site as history, Eye as a witness- Shruti Mukherjee
War has always been devastating, irrespective of the time period in history, whenever it has happened. From mythology to the beginning of our civilisation, to the modern day ‘civilised’ man, it has been a “tool” to kill, abuse power, destroy,…
Looking back at localities: Field notes on the collective as a process of dialogical unlearning-Anga Art Collective
Located in the tri-junction of East Asia, Southeast Asia, and South Asia, the peripheral region called ‘Northeast India’ is situated between a complex network of rivers, hills, and forests. Endless hills turn into flat fields, fields turn into forests, forests…
TRAVELLING THROUGH BASTAR TO RECLAIM DEMOCRACY AND FREEDOM- Anupam Roy
In the backdrop of massive state repression – as witnessed in murders, rapes, illegal deten-tions and custodial tortures – that defines Bastar today, a spirited ‘August Kranti- Tiranga Padyatra’ was organized in Bastar this August. Various political parties and groups…
A PROPAGANDIST’S STATEMENT -Anupam Roy
The idea of the space between what was possible before and what could be possible later; after a crisis or a major historical event, is related to what I consider the appropriate territory for my art practice. A ‘crisis’ can…
My experience as an artist at Haryana’s Tikri border-Debanjan Roy
I took the Rajdhani express from Sealdah Station for Delhi on 14th January to join the farmers’ movement. Immediately after reaching Delhi the next day, I straightway went to the Head office of the All India Kissan Sabha (AIKS). I…
Needling the ‘WOUND’: Dilara Begum Jolly- Professor Lala Rukh Selim, Bangladesh
Dilara Begum Jolly has addressed pain and injustice in her work. She has sifted through the stream of contemporary events to focus on the pain and violence inflicted on the weak by the strong, the inconsistencies and insensitivity that is…
Layered monologue and the game of throne: Dhali Al Mamoon- MUSTAFA ZAMAN, Bangladesh
Time, Coincidence and History, in the main, is a space for crystallizing the vestiges of colonial and postcolonial history covering in its broad sweep the legacies of social-political conflicts, religious parochialism that places identity over piety, and, finally, the body…
Urgent Saaru: Gauri Lankesh The Performance- Pushpamala N
Pushpamala, dressed as Mother India in an elaborate costume popularised in Indian mythological films and television, with two extra papier- mache arms and wearing a mask, walks in a stately manner to the cooking area followed by Manasa dressed in…
Somnath Hore I Knew-Gulam mohammed Sheikh
Thinking of Somnath Hore my memory goes back to the early years of the decade of 1960 when he was teaching at the art department of the Delhi Polytechnic. I must have met him in 1962 when his coloured etching…
Tebhagar diary by Somnath Hore – Sanjoy Kumar Mallik
Defined as a “form of autobiographical writing”, implying thereby that it is primarily written “for the writer’s use alone” as distinct from writing done for publication, the diary is usually viewed as a document that is intensely personal, and therefore…
Art of Compassion and Commitment: An Appraisal of Kathe Kollwitz and Somnath Hore’s creative World- Abul Monsur
As artist Somnath Hore’s centenary date passes-by rather solemnly, any endeavour to assess his artistic accomplishments has to be apprehended as an act of momentous volume. Somnath Hore (1921-2006), despite his long career as a practicing artist, remains somewhat a…
VOL.18 NO.126 -127
JULY - AUGUST, 2022