In February 2024, the Department of Art History and Aesthetics at Maharaja Sayajirao University, Baroda hosted a curatorial workshop titled “Curatorial Practice: Research and Storytelling” led by Rahul Bhattacharya from 19th to 24th. The Faculty of Fine Arts Alumni Association supported the workshop as part of their long-term annual program. Rahul Bhattacharya is a contemporary curator, designer, and educator currently working on developing a pedagogy for curating. The workshop departed from traditional exhibition practices, emphasizing the analysis of second-year Masters students’ dissertations using art historical research tools. Through activities like mind mapping and narrative creation, students explored the complexities of curatorial practice, intertextuality between words and images, and audience interpretation. The workshop culminated in an open exhibition showcasing students’ curated shows, highlighting innovative approaches to art historical research and exhibition design.

The workshop took a theoretical approach that departed from the typical display and showcased the use of exhibit space. Rather than serving as an area of passive absorption, the focus was on analysing the dissertations of second-year Masters students. This experimental approach explored how curatorial methodologies could be applied as art historical research tools. A key emphasis was on examining images through an art historical lens, considering the multiple layers of meaning and connotations they contain.

Two contrasting curatorial approaches were discussed: one where the curator crafts a narrative based on available artworks, and another where artworks are chosen to fit a predetermined narrative. Students engaged in activities to create new, unexplored narratives using archival materials. The concept of intertextuality between words and images was highlighted, underscoring the importance of considering how audiences interpret these relationships. The participating students were urged to understand audience expectations, considering how viewers interpret text and image relationships. The workshop addressed challenges faced by curators, such as the limits of representation and the balance between representing artists and maintaining curatorial integrity. These were in general the key aspects of the workshop.

Students engaged in activities to create new, unexplored narratives using archival materials. The concept of intertextuality between words and images was highlighted, underscoring the importance of considering how audiences interpret these relationships. The flow’s weight was traced through five days of the course. 

The first day introduced curation with the part played by the viewer and the curator along with curatorial approaches. This day the students engaged in activities exploring narrative creation and intertextuality brushing through the archival material from the department while being divided into pairs; one student respectively from both the years. The interpreted narrations from the materials were presented to the class.

The next day focused on the presentations of experimental curations by Rahul Bhattacharya (the Drifters Series, Mending Fences, The Possibility of Being and a few others) with discussions on space and textual elements through these exhibits helping build a curatorial note also changing the way of looking at the display area.  The second half of the day created senior-junior pairs in discussions on seniors’ dissertations to identify narrative loopholes by the juniors.

Day three included an introduction to mind mapping as a documentation tool for a thesis idea and brainstorming which helped better with the thinking processes. Groups created detailed mind maps of dissertation chapters and proposed archival shows. Refinement of dissertation mind maps and preparation for the proposed exhibition was done on the fourth and fifth day. The exhibit contained the research material from the dissertation; the introduction and the first two chapters. Juniors curated exhibitions based on seniors’ brainstorming and mind mapping. The workshop open day was held on the final day of the workshop featuring archival/ conceptual shows curated by students.

Students in pairs worked on various projects within this experimentative process. The first-year Masters’ students individually, through the ideas of the seniors; and the second-year students, curated notes respectively, these were based on the dissertations.

Himanshu Mahato’s dissertation concept, curated by Harshita, delved into the festivals of Sohrai, Kovar, and Bandhana in the Chotanagpur region, particularly in Hazaribagh, Jharkhand. The project explored the intricate semiotics and visual language associated with these celebrations, examining the complex religious rites, artistic customs, and cultural activities that are integral to the local indigenous communities. By focusing on the mud murals and other traditional art forms, the project aimed to unravel the rich visual narratives and cultural heritage embedded within these festivals, offering insights into the unique identity and artistic expressions of the Chotanagpur region

Harshada’s dissertation focused on the pedagogical impact of the Madras Art School on moulding modernism in the art scene from the 1960s to the 1990s. The quaint open exhibition corner was curated jointly by Harshada and Rachna. It looked at how these artists were shaped by their mentors and teachers during this time, leading to the creation of their own distinct styles and artistic processes that helped contemporary art advance. The exhibition offered a comprehensive overview of the dissertation’s concept, depicted through a visual representation of the School’s historical journey. To articulate our concepts effectively, we initiated the process with mind mapping, creating several iterations that eventually culminated in the primary display charts.

Nayana’s field of study started with a look at the four art schools that were in operation at the time and the vast amount of art produced in a variety of genres, including landscape, portraiture, and instruction. Despite their apparent competence and intent, Nayana was particularly concerned by the pedagogy of these institutions and their linkages to the larger cultural environment that led to the protracted absence of notable figures like Ravi Varma. This investigation explored the historical and cultural forces that shaped the landscape of art and art education throughout that time, illuminating the difficulties associated with recognizing and representing the arts in a larger sociocultural framework. Pranali Dighe curated Nayana’s research in making her idea into the show. 

Rajlakshmi’s research delved into the emergence of Bhumija temples in Medieval India as a new style of temple architecture, seeking to uncover the catalysts for their development. While patronage had traditionally been considered a significant factor, the research explored alternative possibilities such as the involvement of guilds or cultural sects. One intriguing possibility explored was the influence of the Saiva Siddhant sect on some of these temples. By examining the architectural features, inscriptions, and historical context associated with Bhumija temples, the research presented findings that suggested a potential connection to the Saiva Siddhant sect. This was curated by Nived Narayanan.

Masood curated Astha Dubey’s idea that aimed to address a significant research gap from an art historical standpoint by focusing on the period from 1819 to 1926, which coincided with British rule over India and the status of Bhopal as an Islamic princely state. The central focus of the study was the examination of Bhopal’s nature as a princely state and the unique identity formation of its four successive women rulers, known as the Begums, through their patronage of various artistic domains.

Deeksha worked along with Shivangi delving into her research that explored regional class identities through Malayalam cinema, focusing tentatively on the period from the 1930s to the 1970s. Recognizing the lack of exploration in this area, she aimed to analyze Malayali identities portrayed in regional cinema, which served as a reflection of Kerala’s culture, tradition, and societal lifestyle. Shivanqi’s research methodology involved posing queries and analyzing scenes from Malayalam films, which acted as mirrors of the region by showcasing various aspects such as culture, tradition, and lifestyle.

Aravindh Vadluri curated Megha’s dissertation, which delved into the architectural analysis of the Delmāl group of temples in Gujarat, focusing on representations of kingship from the 8th to 13th centuries. The study explored the intricate relationship between literary texts and political power during the reign of the Solanki dynasty, tracing the chronological history of the dynasties with a particular emphasis on the significance and prosperity of the Solanki dynasty. Through this research, Megha aimed to unravel the architectural symbolism and historical context surrounding the Delmāl temples, shedding light on the cultural and political dynamics of the region during that period.

Pranali Dighe curated Siddhi Arsekar’s dissertation that concentrated on challenging the stereotypical identity of Goa portrayed in various visual media and contemporary platforms. It aimed to decode the diverse identities of Goa by shedding light on various artists and artworks that explore alternative perspectives. In the display on the final day, a map of Goa was created using hemp rope on cloth to convey the fluidity of the state. Photographs of artworks by different artists were placed on the map, mostly from their respective regions. Additionally, posters of the exhibitions were hung on the sides, creating an enclosed space for viewers to experience the display. Through this presentation, the dissertation sought to provoke thought and offer a nuanced understanding of Goa’s identities beyond the stereotypes.

Saloni Bhojani’s project delved into the examination of Westernization and colonialism’s influence on the evolution of modernity, aesthetics, and taste within the princely states of India during the 20th century. By employing art history methodologies and post-colonial theories, the project focused on early 20th-century Jodhpur, with a specific emphasis on the works of Stefan Norblin, a Polish artist renowned for his extensive contributions to Indian art during this era. Preet Barot’s assistance in constructing the display process played a crucial role in visually representing the research findings and showcasing the transformative impact of Western influences on the artistic landscape of princely India.

The project “Felix Chungkham Idea” curated by Apurva Ghagre held significance in its attempt to explore and document the contemporary expressions of Meitei identity through visual culture. By employing iconographical analysis as a research tool, the project offered a unique perspective on the cultural dynamics and transformations within the Meitei community. This project’s findings could contribute to the broader understanding of Meitei culture, inform cultural preservation efforts, and provide insights for future research on identity formation and visual representation.

Based on Sankara Narayanis’s dissertation, Kunal Krishnan created a note that explored the emergence of regional modernism in Andhra visual culture in the early 20th century. By examining prints from 1920 to 1955, the dissertation revealed a hybrid style that combined elements of calendar art, JJ school, Bengal school, and post-Ravi Varma style. With artists experimenting with forms, media, and subject themes, they traced the evolution from chaos to a distinct regional modernist style, exposing the seeds of early modernism in Andhra. This distinctive style is a reflection of the socio-cultural milieu of the region.

Kratika’s research delved into how the Mughal emperors, with Timurid and Mongol lineages and connections to Central Asian courts, introduced their own food practices to Hindustan. With time there was a blending of Mughal and regional cuisines and practices. This evolution could be traced through the import and export of food documented in the biographical texts of these emperors. Kratika’s research was visualized as a display aimed at helping both specialized and non-specialized audiences understand the concepts explored in her dissertation. The display focused on two main aspects: pleasure and performance. It was conceived as an immersive experience offering glimpses into the court of Akbar and the indulgences of Jahangir, allowing viewers to understand the rich culinary heritage and cultural exchanges of the Mughal era. This was worked with the help of the master’s 1st-year student Gul Paharaj. 

Ayushi Majithia collaborated with Safna to delve into the cultural identity shifts of the Tattar Community in Northern Sri Lanka through an exploration of the Temple Jewellery Tradition. Safna’s inspiration stemmed from the intricate jewellery adorning deities in North Sri Lankan temples, revealing that the artisans behind these creations belong to the Tattar community, consisting of only three surviving families. Safna’s concept was meticulously developed through the creation of three detailed mind maps, focusing on key aspects such as community dynamics, cultural transformations, and the significance of temple jewellery within the Tattar tradition. This exploration sheds light on the unique heritage and artistic practices of this community, offering insights into their cultural evolution and craftsmanship.

The 1st year MVA team led by Pranali Dighe played a big role in making this blog possible as the workshop extended to digital archiving of curatorial practices.

In February 2016, the inaugural workshop of Curation as Praxis: Objects, Spaces, Culture and Methods was held. The curatorial workshops conducted by the Department of Art History, Faculty of Fine Arts, Maharaja Sayajirao University, Baroda in 2016 and 2024 share a common thread in their exploration of curation as a dynamic, practice-based field. Both workshops aimed to bridge the gap between theory and practice, encouraging students to engage with curatorial methodologies as tools for research and storytelling.

The 2016 workshop, laid the foundation by examining the diverse cultural functions of curation, investigating the connections between curating, site, art, making, and visual culture. It provided an organized approach to understanding curatorial practice, with a focus on audience participation, narrative development, and research.

Building upon this framework, the 2024 workshop, “Research and Storytelling,” delved deeper into the convergence of art history and curation. By analyzing the dissertations of second-year master students, the workshop explored how curatorial methodologies could be applied as art historical research tools. Through practical activities and theoretical discussions, students challenged conventional notions of exhibition design and curatorship, ultimately contributing to the ongoing discourse surrounding curatorial practice.