FROM EDITOR'S DESK
It is the pleasure of Shilpangan that on the
eve of holy festival of Durga Puja , the Sixth issue
of Art Echo is reaching to its patrons and
wellwishers. Apart from religious background, it
is a great occasion of social get-together as in
this festival, all persons irrespective of creed and
colour, rich and poor, religion and language join
forgetting all odds, hazards and sorrows of life .
So we have also come forward to join the stream
of harmony through publication of the said issue
of Art Echo.
We express our deep gratitude to all of our
writers and friends because we could publish this
magazine till this date for their co-operation and
benevolence only.
We are delighted that in this issue, we
have published four articles the writers of which
are residing outside our country.
Nandalal Bose and Asit Kumar Haldar,
We humble say that we have tried our
Ajanta, early 20th century. They went to Ajanta
best to give satisfaction to our readers.
We convey our Sarada wishes to all of our as artist assistants to Lady Christiana J.
Herringham. Their trip was funded by the
patrons, writers and wellwishers.
Tagores of No. 5, Dwarkanath Tagore's Lane,
Calcutta
under express insistence of Sister
LET ALL BE HAPPY.
Nivedita, who earnestly wished that Indian
artists should be aware about their own
Tapojyoti Bhattacharjee cultural heritage. Possibly, this photograph
was taken by Ganen Maharaj of Ramkrishna
Mission who accompanied the artists to Aanta.
When I say artist I mean the
one who is building things
some with a brush some with a
shovel some choose a pen.
~
Jackson Pollock
Cover painting
Courtesy Arts of The Earth
CONTENTS
1. STORY TELLERS OF BENGAL:
THE WANDERING MINSTRELS OF BENGAL........1
Smriti Rajgarhia
Independent Arts and Crafts Professional
NEW DELHI
2.
D
% y
x
y
................................................3
x
O
3. ART AND EDUCATION.....................................6
Indrani Bhatacharjee
Silchar College of Education
4. RITUPARNO-CURTAILED VOYAGE
OF A MAVERICK MOVIE MAKER....................8
Sayan Dey
Sub-editor, Eastern Chronicle Daily
Silchar Desk
5. Postcard Show..............................................10
Beijing and Shanghai
6. FUKUOKA PRIZE 2013
Arts and Culture Prize 2013 [24th]............................11
Artist Nalini MALANI
7. Highlights from the 2013 Venice Biennale
Tino Sehgal wins Golden Lion........................13
for best artist at Venice Biennale
8. Fragmentation:
China's New Woman Zhangping.........................15
By Theodore Cantrell
9. Binoy Paul's Vashan (Being Afloat)
in Kustia(Bangladesh).....................................17
Writer: Anarja Tapos, Bangladesh
Translator: Sofiul Azam, Bangladesh
10.Essence of soil in fashion of
Malls
..............19
Sumita Dey.
11.INTERFACE OF INDIAN CINEMA & ART......21
Pinak Pani Nath
12.DISTRICT LEVEL EXHIBITION OF PAINTINGS
AND SCULPTURE OF KARIMGANJ,2013
AT GUWAHATI STATE ART GALLERY.................23
Advisor
Nirmal Kanti Roy
Dr. Meghali Goswami
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Managing Editor
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Silchar Correspondent
Anurupa Bhattacharjee
Karimganj Correspondent
Manas Bhattacharjee
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13. x ~ !e!# ................25
%y x! _
14. ACHIVEMENTS............................................29
Copyrights of the articles belong to the respective authors.
All the views expressed in the writings are of the respective
authors. The publication does not necessarily subscribe to the
Art Echo Office Address :
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COVER STORY
Smriti Rajgarhia
Independent Arts and Crafts Professional
NEW DELHI
Softory
Tellers
Bengal:
Fish Marriage , Vegetable Dyes on Paper, 94 x 22, West Medinipur, Image Courtesy: Arts of the Earth, New Delhi
The wandering minstrels of Bengal
The patuas or the chitrakars are the museums of myths
and socioreligious transformations of history, providing us with an
unbroken link with our cultural past. The tradition of verbal
interpretation of myths complimented with a pictographic form, the
patachitras are the manuscripts which describe to the viewer every
epoch the mystical past and the re-interpreted contemporary
present through the eyes of the keeper of history.
The folk utilitarian & aesthetic nature of this art form stems from an
unconscious sensibility of the human mind, the aesthetic
generated from the interpretations of the formal language of the
social psyche and the utilitarian nature shaped from the profession
of the artist holding the responsibility to propagate the appropriate
moral values. This very act of documenting a myth in patas, works
at many layers of society and collective consciousness, starting
from the metaphysical which is reflecting the conditions of
existence, cosmological which is describing the human existence
as a part of a greater whole, sociological by being messengers of
teaching and cumulatively psychological as the essence which
shapes aims and ideals of a social group. Each of these four layers
is represented through the very act performed by the 'patua' as he
moves from door to door exchanging knowledge and creating
history.
In essence, patachitras are not only a pictorial tradition, but
performance art. The art form is complete only when the patua
unfolds the scroll, panel by panel, narrating in his local dialect, a
poetic form of the story to an audience. It is the art of
transformation of a silent existence to an oral and pictorial state
open to appropriation and discourse in a social group. The
chitrakar creates a new life in words or mystic forms that can be
detached from common context and unwanted association. The
art form achieves to translate the mystical and the unseen into
perceivable understandable yet unattainable reality. Once the
meaning is attached to the form, it becomes an instantaneous
reserve of history and a pictorial perspective of the collective belief
of an epoch is mummified. Each form is a representation of objects
which are defined through elements of the storyteller's memory
which are an extension of their inherent known meaning of
mythical magical themes such as the God and Goddesses taking
on human forms while exuberating a sense of being out worldly.
The translation of sound image to abstract pictorial representation
The Quarrel Between Parvati & Ganga, Ganga Chitrakar Vegetable Dyes on Paper, 96 x 22, West Medinipur, Image Courtesy: Arts of the Earth, New Delhi
transports the viewer to the Patuas mystic world. The hybridity of forms of
animals, the crude depictions of hell, embody in themselves the essence
of being, it is the language of the creator, a language communicating
through simplicity and naivety. The Patachitra tradition is probably the
oldest known form of painting in Bengal, mentioned in Bana's
'Harshacharita' from the 7th Century to many Buddhist scriptures and
many other early literary references. This heritage makes them the
repositories of history providing us with direct evidence to the customs and
thought processes of the past. The Patachitras stand today as the oldest
know institution of an audio-visual form of art, where speech and visual
come together to propagate ideas. The tradition still survives, developing
new social themes, refining old religious myths and experimenting with
new material depicting the new context they create in. Due to their
ambiguous caste status, patuas have performed for both Hindu and
Muslim sects. The representations vary from Hindu themes to Muslim
legends and stories from Christianity. Yet owing to the Bhakti movement
and its proliferation in Bengal, most of the popular pats were based
vaishnava themes from the Ramayana, Krishna Lila and Dusavatar. Other
local deities like Mansa Devi and events like the Santhal revolution have
also been subjects addressed by the sect. Another important subject of
the patas has been depictions of Yama, the God of death and penances in
hell symbolically representing notion of Karma and after life
consequences of evil doers, while the trinity of Jaganatha symbolically
represent equality and fraternity. Yama panels usually are succeeded by a
panel depicting the trinity of Janganatha or other deities reinforcing the
superiority of judgement by God at the end of a human life cycle. The
myths and the stories gain their true essence from the use of lines
completely devoid of angularity, compositions and the flat infill of colour in
the background and the composition that creates the narrative. These
scroll paintings truly depict the true importance of narrative over classical
realism as the inherent quality of Indian art. With the advent of the media,
photography and extensive spread of knowledge, international themes
have started to appear in patachitras. Events like the 9/11 in America and
the Tsunami in Asia have been depicted with the traditional narrative feel
and composition. The use of colour, morphed imagery (Devil's head in the
plane crashing into a glass building) and montage narrative Unturned
trees, buses, people's heads floating in water coming out from the devils
mouth) show a developed sense of arrangement, influences from visual
imagery from the media, yet imbue the essence of the surreal and the
mystic. The coherent creation of verbal poetry to support the same shows
the strength of the tradition to absorb and propagate within their
community the understood good and evil distinctions. The depictions of
social concerns like AIDS and literacy movements not only show a liner
progression in the thinking and creativity of the sect but also give us an
insight on the importance of the chitrakar as the educator & as the key
player in spreading social awareness through the community taking on the
function of audio-visual forms like the radio and the television in the past.
This art has been practiced throughout Bengal in many districts, each
district sanctifying their own belief in their own stylistic syntax.
The main centres have been Birbhum a dying district - once famous for its Jadupatuas, Burdwan
(Vardhamana) - drawing from mainly the life of Krishna, Bankura illustrating themes from Shiva and
Durga and Midnapur known to paint a variety of themes in keep with tradition while maintaining a
contemporary approach. The patachitra tradition is one which has evolved with time, adapting new
material, new themes and new patronage while holding on to the essence of the ritual yet it is believed
that folk art can reside only in isolation transferring knowledge and skill from one generation to the other
within the closed community, while the urbanism and development has been seen as a deterrent to the
same. Commercialization is seen as the medium which converts folk art into craft, but can the tradition
really survive in isolation devoid of contextual alterations?
Courtesy ART&DEAL
!ey ~!
ART
ND
EDUCaTION
Indrani Bhatacharjee
Silchar College of Education
The importance of art education in school curriculum is not a new concept. It was first become
the essential subject in United States schools during the period of 1800's Industrial Revolution, when
students primarily learned drawing a drafting various important skills which could be used in designing
factories and engineering new products.
Regarding this, the question may come in our mind that what is fine art? From the writing of
Andrea Julder- Slater, In the Art World, 'Fine Arts' is the term used for the overall study of the
professional field of Art past and present. In a school setting, 'Fine Arts' refers to students learning
who professional artists are and what they do, utilizing strategies, perfecting advances skills,
studying history and gaining an appreciation for 'high Arts'.
Actually, it has been proven that early exposure to visual arts, music or drama promotes activity
in the brain. And art helps children understand other subjects much more clearly from mathematics
and science, to language arts and geography. Art nurtures inventiveness as it engages children in a
process that aids in the development of self esteem, self-discipline, co-operation and self-motivation.
Participating in art activities helps children to gain the tools necessary for understanding human
experience, adapting to the respecting others ways of working and thinking, developing creative
problem solving skills, and communicating thoughts and ideas in a variety of ways.
So, where do we begin? Start by remembering that teaching children about art is not just about
showing them how to recognize a Nandalal or Jamini Roy, it's about preparing young mind for a future
of invaluable experiences art related or otherwise.
It is basically drawing, which is most essential activities we and out students can do. It is not
only the way through which provides the basis for other creative activities like, painting, etc. but it is
also provides a direct link with reading, writing and especially, mathematics. The connection between
drawing and geometric shapes and measurements never can be denied. And along with that, it is
drawing, the single most accessible form of art available. All the children need a pencil and a sheet of
paper to drop their imagination. But now-a-days, we cannot confine drawing within pencil and paper.
Youngsters can do various sorts of designs using many more materials including cut-up pieces of fruits
and vegetables also. The basic materials which is very much essential for the purpose of art for school
going child are including paper, pencils, crayons, markers, modeling materials, pastels, scissors, glue,
paint and brushes etc. with buttons, beads, threads, and so on in many an art object.
Now-a-days, the general notion to send a child to school is to provide necessary values to
children, which is needed to become good citizen. Along with this, the school provides the skill and
prepares the students to get a job. And above all, it is the school, teach the students how to be better
human beings, how to be creative and aware, and to enjoy and understand the deeper forms of beauty.
Art education, be it in the form of drawing or music or dance, does exactly that. It is undeniable that the
art education develops a child's overall personality and skills.
Following areas are highlighting here shows the importance of art education in school
It is found in various cases that the children, who are engaged in art activities, develop a better
understanding of other subjects, right from languages, geography to even science. Studies by the
Association for Supervision and Curriculum Development Oct. 2011 have shown that students who are
exposed to any of the forms of creative expression, be it music, painting or drama, on an average
achievement higher scores in standardized tests. This finding also suggests that students engaged in
an art programme in school are much more unlikely to drop out of school compared to those who are not
into any kind of arts.
During art programmes, students are often given materials and asked to draw whatever they
feel like. Such free-flowing art activities foster creativity in children and help in developing their
imagination as well as decision making skills.
During art appreciation classes, students are made to interpret and draw conclusion from
various pieces of art.
Art develops a child's intelligence also. Exposure of children to art helps in promoting brain
activity. From the child psychological point of view, a child learns how to solve a problem. He also
learns how to convey his thoughts and ideas in numerous ways. During art period, various pieces of art
are discussed in details. This discussion makes the students capable of expressing themselves well
during debates or in speech classes.
Actually the importance of art education for children can be understood from the fact that
engaging in art activities gibes the child a better understanding of human nature. A child develops
sensitivity and becomes considerate enough to think from the others point of view. He starts respecting
other's feelings and thoughts.
Art activities for children improve their observational skills, such as the skills that are required to
draw a sketch of a house are the same that are required to understand the solar system or to figure out
why a particular classmate is behaving in so and so manner.
Kids are always curious in nature. Art activities increase he curiousness of the kids. After
drawing a sketch, if a child does not like the final outcome, he erases and re-draws certain portions.
Thus, he learns 'trial and error' trough art and uses the same in real life situation.
Children express themselves through art on a fundamental level. Sometimes, their artwork is the
manifestation of that expression, but more often, the physical process of creating is the expression. Art
also develops a child; creativity. Rather than being told what to do, answers and directions come from
the child. Art is an experience that requires free thinking, experimentation, and analysis all part of
creativity.
R.P. STORE
Hospital Road, Silchar 788004
(Near Union Bank of India)
Deals in :
Paper, Office Stationery, Printing
Material and Fine Art Materials.
Contact No: 9957029758
9957157047
9864451548
Rituparno
Curtailed voyage of a
maverick movie maker
Sayan Dey
Sub-editor, Eastern Chronicle Daily
Silchar Desk
The name sounded like a female artist when heard it for the first time. I confess being a rural hailer it's
tough to be on your toes all the time but that could not stand an excuse for someone of the stature of Ghosh and Co.
Back in the 90s, not too many people used to take directors framing female intricacies seriously except Aparna
Sen and her ilk. But after seeing 'Unishe April', I was visible moved. That was it. An Ad-man turned director he
knew the exact aesthetics; his intended attention on details. The pitch about the man was that he effortlessly
transformed the Mall centric Bengali to vintage Calcutta of 60s and 70s. The 'Durgapuja' scenes and others came
with the smell of soil; enough to make you heavy with nostalgia!
Ghosh, as a person can be considered as an icon of Indian LGBT community. He strived to explore
transgender lifestyles during the last phase of his life, and was one of the very few openly homosexual people in
.
Indian cinema. Bold in attitude and courageous in appearance!
An ardent admirer of Satyajit Ray, Ghosh glorified womanhood and closely and sensitively portrayed
women's lives, feelings and sufferings. According to Bollywood actor Anupam Kher, Ghosh had wonderful
understanding of the female psyche. Newspaper 'Live Mint' classifies Rituparno's career in three phases.In his
early films, he tried to portray Bengali middle-class lives, their aspirations and desires; in the second phase, he
mainly worked with Bollywood actors and made films in Hindi and English as well as Bengali; in the third and the
last phase his movies mainly dealt with sexuality.
Rituparno had subterranean interests in classics and made multiple films of Rabindranath Tagore's
works. His films, with their sensitive portrayal of human relationships, anguish, trauma and love in a fastchanging, post-liberalization India charmed audiences. His brilliant story-telling reflected contemporary society
like never before. While his death creates a tremendous void that can never be filled, Rituparno's work blazed a
trail that has paved the way for an entire generation of filmmakers who have dared to be different. It was Rituparno
who gave them the courage. He looked at ordinary middle-class relationships from an angle that had never been
explored. For example, the mother-daughter relationship in 'Unishe April' was refreshing, yet realistic in a society
that was going through churning.
A meticulous screenwriter-director whose films blended the classical literary traditions of his native
Bengal with a new-age sensibility and craft that transcended the confines of region, Rituparno Ghosh was one of
the most provocative voices of contemporary Indian cinema.In a tragically brief but hugely eventful career,
Ghosh made light of many divides through the means of his immaculately crafted films and on the strength of his
own unique identity: art and commerce, regional and national, heterosexual and gay. More importantly, Ghosh
was peerlessly gutsy in the manner in which he addressed issues of alternative sexuality in a series of three films
made within a year of each other Kaushik Ganguly's Just Another Love Story (2011), Sanjoy Nag's Memories
in March (2011) and Chitrangada The Crowning Wish (2012).
Scriptwriter Deedi DamodaranEver since I first met him at the International Film Festival of India
(IFFI) in Delhi in 1996, I have watched with fascination the transformation in his persona. Even then he had
seemed a bit feminine. Years later at the IFFI in Goa, I saw him dressed and made-up almost completely like a
woman. And he looked like a beautiful woman too, just as he did in the film Arketi Premer Golpo , with his lovely
kohl-rimmed eyes.
She said Rituparno was upset that he had been often hounded by the media and some of his colleagues for
not conforming to the gender stereotypes. He was hurt by that, she said. He wanted to be judged by his films,
not by his personality.
I mourn the death of Rituparno Ghosh, that queer imp royale of Bengali and Indian cinema. I loved his
cross-dressing, his courage in addressing lgbt issues in a culture often dominated by reactionary right wingers,
who want to banish such to a forever closet. Not to mention institutions in India (like the khap panchayats), who
would like men to be men, and women to be women, caught up in the ironclad gender essentialism of centuries,
totally phobic of change. I don't like the tepid little Hindu headline about 'transcending region'. For, Rituparno
transcended gender dualities, Bollywood/Tollywood dichotomies, 'respectable' Tagore and not, and so much
more in his tragically short career as director, actor, and Enfant terrible of recent Indian cinema. Rituparno Ghosh,
RIP. You will continue to inspire me and millions of others, long after your death
ART FAR-OFF
Installing the very short-lived pop-up show on the Bund facing Pudong.
Sunanda Khajuria Art work One person take care of all work at bund Dhaneshwar Shah Art work at bund Travelers peruse postcard art at the pop-up show in front of Shanghai Railway Station
Postcard Show
Beijing and Shanghai
61 artists contributed postcard sized images of work they created on or inspired by Red Gate
residences. While the exhibition wasn't able to show as planned on the Transxpress late last year, it was
recently showcased at China Residencies Kick off Party in Beijing, and also at a pop-up exhibition in
front of the Shanghai Railway Station and along the Bund.
Observers at the pop-up shows were invited to choose a postcard they would like to post to a
friend or family member in hopes of perpetuating the exchange.
Artists who have participated in residency programs in China are invited to contribute one
postcard sized image which will be exhibited in a variety of different venues.
Dhaneshwar shah and sunanda khajuria were participating artists from India. Dhaneshwar
shah's art work is inspired from tribal and aboriginal and Sunanda Khajuria's artwork related with
human psychology. Both artists played a very important role in this exhibition.
The exhibition was produced by Crystal Ruth Bell, of China Residencies, and Thea Baumann,
10
FUKUOKA
PRIZE
2013
Arts and Culture Prize 2013 [24th]
Artist: Nalini MALANI
India / Art
Born February 19, 1946
Ms. Nalini Malani is a leading Asian artist who has attained an international reputation. Her
large-scale spatial art, combining paintings and installations, takes on the recent history of the Indian
Subcontinent, and keeps consistent focus on such daring contemporary and universal themes as
religious conflict, war, oppression of women and environmental destruction.
Cassandra 30 panel polytych, acrylic, ink and enamel reverse painting on acrylic sheet, 227.5 x 396 cm, 2009
Ms. Malani was born in Karachi, Pakistan (then part of the British Indian Empire) in 1946. At the
troubled time of the Partition of India and Pakistan, her family escaped to Kolkata in India in 1947. After
graduating from the Sir J.J. School of Art in Mumbai in 1969, she received a French government
scholarship and went to Paris to study art. Since her return to India in 1973, she has been based in
Mumbai. In 1987, she organized Through the Looking Glass, the very first female-organized exhibition
for female artists in India, for which she attracted considerable attention. In the 1990s, she presented
her first installation work, and also such unique exhibitions as the City of Desires, where the general
public were invited to watch her at work, and discuss the creative process. Reacting against the growing
threat of Hindu Nationalism in India, she opened up a new field of expression in the conservative Indian
11
artistic scene. She held exhibitions at the Asia Pacific Triennial (Brisbane, 1996) and at the New
Museum (New York, 2002). She was also invited to a number of international art exhibitions including
the Venice Biennale (2007) and DOCUMENTA (Kassel, 2012), and has been active as a central figure
in Indian contemporary art exhibitions which have taken place in the West and in Asia. Her work was
often introduced in Japan, too: she went to Fukuoka Asian Art Museum on a residence program in
1999-2000, and participated in the Artist File 2013 at the National Art Center in Tokyo. Although Ms.
Malani uses modern representational techniques such as installations, her art conveys a dreamy
quality and a familiar warmth, because of the strong influence on her work of such traditional folk arts as
glass painting, shadow play, kaleidoscope lantern and Kalighat paintings with divine images.
Warriors and Green Worm
Acrylic, ink and enamel reverse painting on
acrylic sheet,
51 cm, 2009
The central motif, however, is her response to the serious problems and contradictions
which the world faces, including religious conflicts caused by fundamentalism, war and nuclear
power, violence and oppression towards women, and environmental destruction. By thus
accumulating diverse images, she creates multilayered narratives which cannot be reduced to
a simplistic dualism between good and evil. Having chosen these difficult themes of the
problems of the contemporary world, she has created ambitious works of art and applied
innovative means of expression, but at the same time has maintained her roots in Indian
tradition. As a result, she has established a worldwide reputation, and become one of the
leading female artists in Asia. The Art and Culture Award of Fukuoka Prize, 2013 to Ms. Malani
has added a new gem to her crown.
12
HIGHLIGHTS FROM THE
2013 VENICE BIENNALE
Tino Sehgal wins Golden Lion for best artist at Venice Biennale
The Venice Biennale is the largest and most prestigious international art
exhibition of its kind. It was first staged in 1895, and now every two years more than
300,000 visitors flock to the Biennale to look at art by the world's leading artists.
It's commonly known as the art Olympics - as much for the endurance required to get around the 88
national pavilion exhibitions and 47 satellite events, as its historical focus on national representation. The Venice
Biennale also presents a sprawling international exhibition, this year titled The Encyclopedic Palace which has
been curated by Massimiliano Gioni and features 150 artists from 37 countries. The Venice Biennale officially
opened to the public on June 1, which means the VIP crowd was long gone by the time the common people were
able to take a look at the much written about works from artists all over the globe. The Biennale will again use
the "dual" form defined in 1998: a great International Exhibition directed by a curator chosen for this purpose and
the National Participations. In this way Paolo Baratta has introduced the 55th International Art Exhibition,
remembering that the individual national pavilions are a very important feature of the Venice Biennale. It is an
old formula and yet one that is more vital than ever. It is precious in times of globalization, because it gives us the
primary fabric of reference on which the always new, always varied, autonomous geographies of the artists can be
observed and better highlighted. It may be asked to what extent these pavilions also bring with them desires for
representation of the country that organizes them - although the autonomy left to the curators is broad. Each one
has its own history and style. It may certainly be said that in them the countries reveal the role attributed to
contemporary art as messenger of their present and their cultural wealth. But the pavilions also provide
revelations on more profound realities and riches than those of the usual official and stereotyped images or
pretexts.
13
The title chosen by Massimiliano Gioni for the 55th International Art Exhibition is: Il Palazzo
Enciclopedico / The Encyclopedic Palace. British-born Tino Sehgal has won the Golden Lion for best artist at
this year's Venice Biennale, the world's most prestigious contemporary art event. Sehgal received the award,
the art world equivalent of an Oscar, on Saturday for his performance piece in which a small number of people
hum and beatbox while moving on the floor. Naming him as the best artist in the Encyclopedic Palace show in
the central pavilion of the 55th international art biennale, the jury praised Sehgal "for the excellence and
innovation that his practice has brought opening the field of artistic disciplines". Seghal, whose piece in the Tate
Modern Turbine Hall last summer saw performers telling intimate stories to visitors, creates art that has no
physical form.
Trained in political economy and dance, the Berlin-based artist is also nominated for this year's Turner
prize for his Turbine Hall piece and a performance for Documenta, the five-yearly exhibition in Kassel, Germany,
in which participants and the audience were plunged into darkness. The Guardian's art critic Adrian Searle has
described Sehgal as a world-class artist whose practice is "an art of human interaction, situation and
confrontation". He represented Germany at the 2005 Venice Biennale and had a show at the Guggenheim in
New York in 2010.
Maria Lassnig and Marisa Merz will be the recipients of the Golden Lions for Lifetime Achievement
of the 55th International Art Exhibition Il Palazzo Enciclopedico (The Encyclopedic Palace) (Venice,
Giardini and Arsenale, June 1 November 24, 2013).
The decision has been made by the Board of la Biennale di Venezia, chaired by Paolo Baratta, following
the proposal of the curator of the 55th International Exhibition, Massimiliano Gioni, who presented the
following motivations:
Maria Lassnig
For more than sixty years Maria Lassnig has investigated representation, both of the body and of the
individual, in paintings that often depict the artist in a state of restlessness, excitement, or despair. Through her
self-portraits, Lassnig has composed a personal encyclopedia of self-representation and, through what she calls
'body-awareness paintings,' has used painting as an instrument of self-analysis.
Marisa Merz
Since the 1960s, Marisa Merz has been a singular voice in contemporary art. Beginning with her early
work, which she carried out alongside the protagonists of Arte Povera, Marisa Merz has distinguished herself by
her reflection on the domestic realm and handicraft techniques stereotypically associated with female labor. The
artist has developed a personal language in which painting, sculpture, and drawing give shape to apparently
archaic and primordial images.
14
Fragmentation :
China's New Woman Zhangping
Theodore Cantrell
Zhangping was born at Dandong a part of Liaoning City, China.
Zhangping is a Beijing Artist who began her formal art training at Lu Xun Academy of
Fine Arts, in Shenyang, Liaoning Province. She studied both the traditional techniques of
Chinese Painting and x the Western styles of painting, and became a skilled and versatile
artist, able to work astutely in a multiple of mediums. Zhangping is a one of the leading artist of
China. Her career includes numerous exhibitions, national and international, as well as
curating many exhibitions. She has produced many series of works, examples would include:
Bandages, Big Women, and God's Image. And in all her works she has a unique personal
approach to expressing her feelings. At present she is working on her new series called
Fragmentation: China's New Woman.
In her series titled Fragmentation: China's New Woman, Zhangping has taken the
traditional Chinese ink painting of a beautiful woman and fragmented it into multiple pieces.
These pieces are recombined to create a new image of a new Chinese woman -one whose life
is a combination and rearrangement of the traditional and the modern roles of Chinese women.
The absolute traditions of the past, the roles of women in Chinese society, have been
rearranged and altered in these paintings. Women are no longer just the overseer of the home;
they are working professionals, involved in business, education and in the politics of society.
They are fragmented individuals who rearrange themselves into a new image according to the
demands of their lives.
15
Zhangping is a postmodern
woman. She is a woman whose role is
being altered and reconstructed by the
modern demands of China. Her artwork
is a witness of past and present
situations. This new reconstruction is
determined by the site specific nature of
the exhibition space, the new China.
According to the needs of the exhibition
space, the paintings rearrange
themselves. If the wall where the
painting will hang bends at a corner, the
painting also can bend and wrap the
corner (see Fig 1 and 2). Or the painting
can spread out into an irregular shape
as seen in Fig 3 and even revert to a
traditional rectangular shape (see Fig 4
and 5). Whatever the need, the painting
adjusts itself; just like the modern
woman of China adjust herself, to the
new postmodern world of China.
ADDENDUM
The final lines that are missing from the topic
Rowdy Rathode, Reminiscence of hand painted
posters in the previous Art Echo issue V
......High impact color schemes of the earlier hand
painted posters are not visible in today's era. it is not
only in India, the drift of traditional posters is also on
the verge of extinction in different countries
including in Hollywood.
16
Binoy Paul's
Vashan
(Being
Afloat)
in Kustia, Bangladesh
Anarja Tapos
Researcher, Gallery Jolrong,
Dhaka, Bangladesh
Binoy Paul is a young artist coming from the Department of Visual Arts, Assam University,
Silchar located at Silchar, Assam, India. He came to take part in the young artists-in-residence
program organized by CRACK in the town of Kustia a district reminiscent of the memories of Lalon
and Rabindranath Tagore in the Khulna administrative division of south-western Bangladesh. He was
one of the three participant artists under this year's young artists-in-residence program, which has a
particular characteristic CRACK upholds at its best. The characteristic referred to as special here is to
inspire artists to create art works by using local materials. Before that, the organizing authority gives
them the chance to roam around the area fully for both their inspection and their perception, which play
a significant role in the artists' minds, and with the help of both, they create art works. Apart from working
in different media, Binoy Paul created an untitled installation, to which we can now give a title, Bhasan in
Bengali or Being Afloat in English.
Binoy Paul has used plastic and cloth as his artistic media. He kind of started off a story with
patches of a thinly-threaded towel, locally called gamcha in Bengali, stitched to a human-shaped plastic
frame. Later on, by letting the plastic figure be afloat on water, he finished the story. Plastic doesn't sink
in water. The plastic figure has wrapped itself up with patches of a gamcha. The whole matter has
presented us with a multi-dimensional story, which viewers have judged in countless ways.
In Binoy's art works, we find the stories revealed of a community of handloom weavers, who
have been professionally involved with weaving for a long time in the areas around Kustia as well as
their golden history now sadly forgotten along with the passage of time, better say, well settled in
oblivion. No, the industry of Kustia's handloom weaving is not yet wiped off completely. It's better to say
that its golden days are long over. Binoy has sought for the telling texts of weaving on handlooms, for
the weavers' increasing sighs and for the depressing tale of a golden chapter in the history of
Bangladeshi arts. This installation by Binoy can be interpreted as a short summery of traditional
handloom weaving industry in Bangladesh.
17
Once upon a time, there was a huge amount of cloth such as saris, lungis, gamchas, bedsheets, woven on handlooms in areas including Kumarkhali, Jugia and Cheuria in the district of Kustia.
These are woven on handlooms still today but there is no trace of the golden days of its industry as we
have said so. Somewhere there, only gamchas and lungis are still woven but they are a bit thick in
quality and with almost no designs on them instead of the attractive designs they once had on them.
That's all there is to say about it. The weavers arrange their ways to live on (or better say, they have
hardly enough to keep body and soul together), always focusing on this sort of handloom weaving still
today. Yes, they have some kind of arrangements for making their livelihoods but no spirit there in their
struggles at all. The cacophonous sounds of handloom weaving often mingle with the winds blowing
over there. Once a handloom weaver was asked whether the handloom machines would continue or
just wait for some more days to close down forever, he replied that the machines might stay a little
longer, probably if not certainly but the weavers would not have handloom machines of their own.
Instead of them, there will be factory machines, which will be weaving cloth for the monetary interests of
big industrialists. Not so long back, only four years back, there were many handloom machines but now
most of them have already closed down or stopped functioning on the full scale. Factory machines
have been set up, and those bankrupt helpless weavers go to work there for wages. Many of the
weavers from village to village have come up on the urban streets, trying extremely hard to just earn an
inadequate living by giving up the profession of their ancestors. Most of them have become van drivers,
or machine men of urban ready-made garments factories if not workers of ports be they sea or land.
Both urban and rural people have advanced further at gradually fast speed. But civilization has gone
much further at alarmingly faster speed. And not only the weavers of Kustia but also others living by
such a profession in different parts of Bangladesh were forced by circumstances to move from villages
to urban areas for their adaptation to the changing situations over years.
Behula was there, however, with insensate Lakhindar afloat on the raft. But who is there to
stand by the Bangladeshi weavers? There is apparently no one in sight. Yes, there are, or perhaps will
be, young artists like Binoy Pal, who will continue telling x the history of weavers in different gestures
and indications, and we will be trying hard sometimes if not quite often for sure to understand the
untold stories lying hidden away in the bends of our human history.
Translator:
Sofiul Azam
Dhaka, Bangladesh.
18
ESSENCE OF SOIL
in fashion of Malls
Sumita Dey
RESEARCH SCHOLAR
DEPTT. OF VISUAL ARTS, ASSAM UNIVERSITY,SILCHAR
In the eve of environmental day, Srijan,
a self help group
launched
their
product
named
kullar
the
terracotta pot used for serving tea) in the restaurant of Goldighi
shopping
mall
It was
a
tea
party
among
the
members
and
the
well
wishers
of
Srijan
who give their effort to make this event
successful
The
pottery workshop was conducted with the potters of silcoorie on
th
May
Although
this was not the first time
the potters of silcoorie had got the opportunity to attend the ceramic workshop
conducted in Assam University
sponsored by Regional Design and Technical centre
Guwahati
in
the
year
Large
number of students
from
various
semester
of
Fine
Arts dept. and the local potters of
Silcoorie, Nayabil, Irongmara
participated
under
the
guidance
of
famous
ceramic
designer
Sandip
Manchandar
It was a pleasing memory from the prospective of teaching learning
process as
well
as
from
the
point
of
view
of
collective
group
work
With a purpose of rememorizing
those
days
my friend Gargee Bhattacharjee
and
I visited the
potters house of Silcoorie, in a cool Sunday evening. Although we faced
little hurdle
to find the exact
location of the potter community, but finally we managed to visit their place with the help of local people.
The fact we came to know was not at all satisfactory, because a large number of potters had opted
different profession due to their livelihood. Only two families are involved thoroughly with their
traditional work. Most of them are occasional potters especially in the time of festival like Diwali. They
have in their mind regarding the memory of the earlier workshop but a dissatisfaction was noticed
because
of
not
getting
any
such
facility
from
the
Handicraft
Dept
Government of Indiaafter that
workshop. They even did not get any artisan card. As a result it was difficult for them to get any loan from
bank to establish
their
own
work .
With the help of the pass out student of fine arts dept
a self help
group was created with a mission to revitalise the local artisans. It was decided that the emphasis
19
would be
given
on
the
women
of
the
family
as the
male
persons
are
busy
in
earning their lively hood by
opting different profession rather than pottery. It is the women of the family who are trying
to
find
a
way
through
this
dying form
of
art
Here
the
reference
can
be
given
of
Gouri
Kumar
the
aged
mother
of
potter Ramjanam
who
was busy in preparing Chillim
used
for
smoking
purpose
till
the
end
of sunset
A
large
number
of
women
for
example
Namita
kumar
wife
of
Ramjanam
kumar
Rita kumar(wife of
shiblal kumar),
Bhagbati kumar(the wife of Rajmohan Kumar),
Anita and sunita
kumar
the sister of
Krishna Kumar had attend the workshop. Although the wheel was not used by the women, the product
was created by them
x
in
coil
technique
Besides the eminent personalities of the society, the Head of the dept. of Fine arts Nirmol kanti
Roy, Assit
Prof.
Ganesh
Nandi
Asstt.
Prof.
Saughata Nath, from English Dept.
of Assam University,
Soma Bhattacharjee,lecturer of Janata college extenededtheirvaluable suggestionsand
encouragement
to
the
members
of
Srijan
for
their
humble
effort
After
the end
of
five
days
workshop
a
large
number
of
Kullars, pattils
chillims
terrocata
flower
vase was
prepared
Unlike the Hindi feature film
this
article
does
not
end
here
with
a
happy
ending
The climax
of
the story begins now
It is really a big challenge for Srijan to popularise the product in a mass way
because of the lack of awareness among people. For example, the pattil
the
container used for Dahi
is
replaced
by
plastic
container
due
to
the
lack
of production
cost
Half
kilos
of
Dahi
x
costs
Rs 60/-
but
the
same
kilos
of
Dahi
is
Rs 50/
if
it is
in
plastic
container
Obviously
the
customer
prefers
the
second
one
and
as
like
the demand
the
supply
of plastic container is increasing day by day. The similar condition
was noticed in the case of of Kullar also, as the production cost of plastic cup was lesser then the
production cost of Kullar.
Now the question arises -
is
there
any
role
of
govt
regarding this issue? Because a large
number of awareness campaign was conducted by the govt regarding the hazard of plastic use, about
the green house effect, about biodiversity, about the use of eco friendly product. So, is this all for
propaganda? Or is it not
a
good
example
of
dual standard of policy? It can be mentioned here that the
Bihar govt .has banned the use of plastic cups to revitalise the economic condition of their potter
s
community. As a result the popularity of Kullar
has
regained. Is it really very difficult to do the same thing
in Assam or in Silchar? This is the urgent need of the time, this matter should be treated seriously both
by the govt. as well as by the intellectuals .Because we cannot imagine Bengalis without a
pattil
of
Dahi
and
Hillsa
fish
in
the
early
morning
of
Paila Boishak
Bengla
new
year
or
the
status
of groom
is
measured
by
the
size
of
fish
and
the
size
of
pattils
of
Dahi
which he provides
to the
bride
house
These
are the examples
to
realise
the
fact
that
certain
objects
are
so precious
and
attached
with
our
belief
rituals
and
custom
that
it
cannot
be
ignored
It became
a
part
and
parcel
of
our
tradition
The
existence
of
pottery
in
India
traced
back from
Neolithic
age
The
Vedic
text
like
Yajur Veda
and
the
Taittiriya
samhita
gave
a
vital idea
about
the
use
of
handmade
pottery
The
use
of
wheel
made
pottery
found
from
Mehergarh
in
Indus
civilization
It
was
very
secretive
in
regards
to
sacred
traditionceremonial
rituals
Although
with
the
increase
of
our
standard of living, our requirement towards life has changed. We are
more intended towards the use of sophisticated gazette in our life. We love to explore the pleasure of
escalator in spite of stair. Do we ever realise the need to find our root? Let
s take
a break, and explore
the essence of our soil with the highly sophisticated facility of Malls, with friends, music
Pani da rang
dakhla .....
and a kullar of hot tea.
Busy at work
20
Women of Potters family busy in making pots.
The final product
nterface
of ndian Cinema
Art
&
Pinak Pani Nath
RESEARCH SCHOLAR
DEPTT. OF VISUAL ARTS,
ASSAM UNIVERSITY, SILCHAR
Recently an art show on hundred years of Indian Cinema was held at
Ark Art Gallery
Pune
The
show was based on twenty two artists from all over the India. That exhibition was
curated by Dipta Bhattacharjee. In the catalog, the curator outlined
her concept
behind
the
relationship
between
Indian
Cinema
and
Indian
art
as
well
as mentioned
the
motto
behind this
group show. The curator presented the relationship between cinema and art, that is The
debate is at leaf or century old, should cinema be considered as an art or not. We prefer to look
beyond
we
believe
that
cinema
has reshaped
the
very
foundation of human civilization. It is
21
now hard to deny that Cinema
has over
the
years
changed
our
look
and
outlook
towards
life
A lot has been said and written about the fact that cinema has borrowed from painting as
from sculpture, but can we deny the fact
that
cinema has also inspired painting or sculpture
over the years
At the backdrop of
hundred
years
of
Indian
cinema
a
new breed
of
Indian
artists
are
trying
to
map
how
cinema
has
changed
or
rather inspired art in our country
Simultaneously
curator
has
presented
her
thoughts
behind
this
group
showThat
is
we are
standing on the threshold of a creative work, and we have kept glorious era behind us. This
year we are celebrating the hundred years of Indian cinema and our show is dedicated to it.
This is a collective Endeavour of the artists from this generation, are trying to deny all the
limitations & prejudice. They all are engaged with the mediums in a process to explore the
social & political surroundings, regular hustle and bustle or sometimes just only for sake of art.
Apart from other participant artists
the
latest
work of Santonu Dhar, creates a special
attention within the viewers during exhibition. The works articulate
powerfully of an artist, how
he has executed his inner mental picture
through a contemporary style. In this exhibition, his
paintings replicate
a outstanding
reality of Indian cinema. The prime expressive element in
Santonu
s paintings however, in the brown and black lines, where he creates an overall effect
of movement and action through his lines. It is clear that sometimes aim is surely not of
producing visually fantastic
works, but of catching the varied impulses which dominate a given
scene at a given time. The colourful and vibrating works of Santonu
connects
with
magic
powers
and
things
that
cannot
be
explained
by
incentive
His
paintings
always
give
the
chance
to
the
spectators
to
look through
the
thoughts
behind his
creation
Santonu
creates
a
magical
conversation
between
his
paintings and the viewers, and then he assumes the vernacular
or
dialect which helps him to surmount
the next
blank
canvas
The
thick
colours
and
textures
of
the
painting
emphasize
the phenomenon
behind
the
concept
of
Santonu
s works as well as it
creates an avenue for the viewers. But, recent works of Santonudescribesthevivid
characteristics
of
him
there
we find
Santonu
as
a big fan of Big B (Amitav
Bachchan
Even
he
has
been
maintaining
his hair
style
like
earlier hair style of Mr. Amitav. Santonu
has
also
delivered many dialogues in some occasions which are related to Amitav
s films and these are
still popular among his friends circle. Santonu
is
now
planning
to
do
the
solo
exhibition
in
Mumbai
and
he
has
been trying
to
contact with Amitav
Bachchan
to
inaugurate
his
exhibition
This
kind
of
attraction towards
the
cinema
is
very
natural
in
Indian
tradition
If
we
remember
Dadasaheb
there also
we
find that he
diverted
his
art
education
into
a
film
making
Definitely
it
is
true that cinema is an art, but at the same time it is equally true that
there
are
lots
of
art
in
cinema
The
great
legendry
artist
and
the
member
of
Progressive Artists Group
M
F
Hussain
began
his
career
in
the
arena
of
visual
art
by
making
posters
of
Indian
cinema
The handmade
posters
of
films
like
Pyaasa
Mughal
e
Azam
Sholay
are
still
now
famous
in
the contemporary
of
visual
arts
as
well
as
in
cinema
So
Tripura
based
artist
Santonu
s love or attraction towards
cinema has reflected the same tradition in the exhibition
His
acrylic based
painting
of
Bollywood
there
he
depicted
the
black and white portrait of Amitav
and
a camera
with
a
reel
which
shows
the
glorious
tradition
of
Indian
cinema
and
the
painting shows
the
transformation
of
black
white
cinema to colours
Accept
Bachchan
s portrait, the other arrangements of
Dhar
s painting mainly visualized
the
abstract
quality
The paintings
of
Dhar
s always try to
engage your sense and provoke your intellect and strive
to transform
his
feelings
at
multiple
levels
relating
the
socio
cultural
political
conditions
of the
present
situation
of
time
Through
that
exhibition
Santonu
s works are to be held very successful to interpose
the
remembrance
of Indian cinema and
world
of art
22
DISTRICT LEVEL
EXHIBITION
PAINTINGS AND SCULPTURE
OFKARIMGANJ,
2013
AT STATE ART GALLERY
GUWAHATI
Karimganj Correspondent
It's an holistic mission of different kind to give way to the access of facilities and due
placement to the accomplished, degree holding artists scattered in the remote and rural areas
of Assam. The mission was undertaken by the Directorate of Cultural Affairs, Govt. of Assam
and an umbrella organization, the Association of Visual Artists, Assam (AVA) jointly, after a
noble resolution to conduct an exhibition in the district level every month encompassing
various districts of the state. It aims at identifying the hidden talents and introducing them to the
contemporary art scenario and providing new artists the scope of introduction and interaction
with the eminent and veteran artists of Assam.
Earlier a few artists from Karimganj already participated in a group show in the same art
gallery at Guwahati. And also some of young artists already acquired eminence in the
contemporary art scenario. But, it is for the first time, the artists in a group from Karimganj
district, amassed thirty two artworks with two dozens of paintings and eight sculptures and
undertook a gigantic task of transporting such voluminous artworks with metal heavy
sculptures to Rabindra Bhaban, Guwahati and joined the roster of that kind eventually after
Morigaon and Golaghat.
Shown from August 29th until August 31st, 2013 at the State Art Gallery of Rabindra
Bhaban, Guwahati, the exhibition of Paintings and Sculptures of the artists of Karimganj
district, was organized jointly by the Directorate of Cultural Affairs, Govt. of Assam and the
Association of Visual Artists, Assam (AVA).
The AVA did everything so far possible, inviting eminent artists, art connoisseur and
dignitaries, press and media houses to make inaugural ceremony a decent and grand. They
greeted the guests and the artists present there at the ceremony. The inspiring words are
spoken in a great deal of cordial air. Sri Swapnanil Barua, Commissioner Secretary, Cultural
Affairs, Govt. of Assam, welcomed the participants to take the 'opportunity' that offered by
Directorate of Cultural Affairs and invited to built a pan-Assam creative practice and exchange
of thoughts. He described it as a venture of patronizing and uplifting lesser known artists,
recognizing their talent. The eminent Film maker and Artists Sri Gauri Barman, mostly
expressed his nostalgia, remembering the days when it was difficult to arrange exhibitions. On
23
behalf of artists, Sandipan Bhattacharjee, one of the senior member of artists group, draw a
brief background of art of Karimganj and the artists that contributed to the art scenario of
Karimganj.
It was an inspiring showcase of art by younger artists with a few senior artists. In
response to the offer followed by the cooperation extended by Sri Sanjib Gohain Barua, the
Deputy Commissioner of Karimganj, the 'AAKAR' (The Assemblage of Artists, Karimganj)
coordinated the efforts between chief organizer and the artists from Karimganj and coorganized the event at Guwahati. The exhibit featured the works of Dr. Swapan Paul, Manas
Bhattacharjee, Sandipan Bhattacharjee, Chhandita Dey, Amitabha Choudhury, Biswarup
Sarkar, Siddhartha Sankar Das, Surajit Sarkar, Arpita Das Purkayastha, Sushanta Sinha,
Nippan Das, Gautam Chakraborty and Kishor Dey, communicated together successfully the
realities and concerns of their places of living. Among the thirty two art pieces, visitors found an
intriguing variety of artistic media, including bronze casting, wood carving, metal scrap
assembling-welding, optical fibre, water colour on paper, painting canvases with acrylic and
oil, or some paintings and sculptures on mixed media etc. All of the paintings were different in
size which also added to the different shapes and styles that were portrayed. Most of the works
are modest in scale and self-possessed with hidden thematic programme. Primarily viewers
appeared a bit curious about the exhibition of artists from different geographical location and
different cultural practice that little known to them. They all around enjoyed the exhibits and
complimented the artists.
The onlookers could managed to get a sense of personality from the works and can feel
what artists feel. The cryptic nature of some pieces also enticed them to decipher and discover
their own interpretations. On the other hand, using their own heritage, experiences and artistic
concepts to depict, the artists explored issues of identity in their creative activities. Almost all
except two, of these artists are members of the same group 'AAKAR', largely having good
association in respect of practicing and sharing. So the varying technique and perspective of
the renderings truly allowed visitors to fully study and contemplate each piece, or simply to
appreciate the dynamic creations on a purely aesthetic level.
The idea of curiosity and fraternity is perceptibly embedded in this exhibition. So, in conclusion,
it produced contributory effect to the collaborative process in multiple lines of creative practice
across the different valleys and hills of Assam.
24
REVIEW
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