Critical Juncture brings together a collection of artistic responses to contemporary political and social issues in the state of Kerala, India and Poland - two geographically remote territories that both have been influenced by different notions and practices of communism. As a starting point for the project, the curators adopted the term 'critical juncture', which is used in political and social sciences to describe a point of liquidity or a short phase during which it is possible to change the course of events. The participating artists investigate socio-political changes that have been happening in Poland and India, exploring, amongst others, issues of in/visibility, the importance of utopian thinking, forms of social self-organisation and mechanisms of exclusion.
The exhibition will take place inside a former spice warehouse located in the historical Jew Street in Mattancherry, which forms part of today’s Kochi, as well as public spaces around town. Historically, while Fort Kochi used to be a fortified European settlement, Mattancherry was the trading hub for other foreign settlers, such as Jews, Arabs, and Armenians as well as for merchant communities from India, such as Gujaratis and Jains.
Along with creating a space for critical thinking and exchange, Critical Juncture’s genuine engagement with the local community of Kochi proposes a model of exhibition, where artists work with residents and support local workers and workers' unions. The invited artists represent different generations, levels of recognition and social backgrounds and include both internationally and locally acclaimed artists.
The project is partly artist-led, which sets a base for a collaborative approach and provides an alternative to the established hierarchies of the art world. An integral part of the project is the residency for the invited artists, creating an immersive environment to engage with the local community and either to produce new work or conduct in-depth research for future projects. The programme of the residency, from common accommodation and meals to research trips and university hosted seminars and workshops enables both informal and structured interaction between the artists from the two countries, setting up the possibility of future collaborations.
Daily newspaper reading and debates over tea among workers that used to be a popular morning routine on the street corners of Kochi in the 60s and 70s is revisited by Sanchayan Ghosh in his workStreet Side Reading. Don’t talk about Poland. Don’t talk about Poland has been a popular phrase in Kerala since the 90s and is used to stop a person criticizing Marxism from referring to examples inadequate to the local context. Using excerpts of texts by Indian artists, sociologists, performers and filmmakers the performance intends to generate a debate on the critical relationship of social life and art practice within a tea stall in Kochi. The Reversed Perspectives III: Locating the Marginal installation presents Ghosh's engagement with an open china clay mine landscape in Kharia, Birbhum in West Bengal. It refers to the life of the poet and performer Hara Kumar Gupta in the multilayered economic context of the various communities inhabiting a proposed ideal town (a nationalistic Nehruvian project), which failed to become a dreamland.
The issues of labour invisibility are the subject of Tushar Joag’s Washing D’Arty Linen, a collaboration with the local washers' co-operative Vannar Sangam. The exhibition space will be used to hang the linen from local hotels washed at the common washing facility; since the project takes place during the Kochi-Muziris Biennale, the linen will mostly be of the art tourists. As part of the project Joag is also raising funds to procure an industrial washing machine and a hydro extractor for the co-operative to make its continuing existence viable - currently the linen is washed by hand which is a very labour intensive process forcing younger people to migrate for work. The work is part of Joag’s mock corporate enterprise UNICELL.
Magda Fabia?czyk’s installation Where I Was Not was realised in collaboration with Roma community from the post-industrial city of Bytom in Upper Silesia in Poland, as part of an initiative by CCA Kronika. Magda Fabia?czyk worked closely with local Roma community leader Angela Mirga whose words stating that she wished she could “enter areas she had never been to” inspired the design of the table cloth covering the round table in the gallery space. The table became a meeting place between the members of the Roma community and the representatives of local government, turning the gallery into a space where dialogue could be initiated and solutions sought to the ongoing problematic relationship between the Polish and Roma communities.
Oxygenator was a temporary public project by Joanna Rajkowska in the form of a 140-square metre artificial pond equipped with air-ozonating and fog-creating equipment, surrounded by greenery, shrubs and seats. It was built on Grzybowski Square in Warsaw, which was part of the Jewish Getto during the Nazi occupation of Poland. Various local social groups (office workers, Israeli student trips, pensioners and church-goers) and architectural layers (a synagogue, a Catholic church, corporate offices, communist-era apartment blocks and small local shops) remained disconnected despite occupying the same space. Rajkowska’s work offered a previously non-existent common space, opening it to interaction and communication, and simultaneously creating the potential to suspend everyday patterns and dominant social conventions.
The importance of resurrecting utopian thinking today is at the core of Alicja Rogalska's Dreamed Revolution video, based on documentation of the artist's recent performative project which took place in ?ód?, Poland. Local activists were invited to take part in an experimental workshop and, hypnotized by a professional hypnotist in the presence of theatre audience, collectively articulate and share possible scenarios for a society of the future. Hypnosis was not only used as a meditative tool to increase focus and facilitate creativity, but was also meant to remove learned thinking barriers. The project was an attempt to move beyond the forms of subjectivity created by the ideological hegemony of global neoliberal capitalism which inform our rational thinking and affectivity.
The multiculturalism of Kochi is reflected in Sharmila Samant's installation The Kochi Weaves. A colourful tapestry comprised of fifty different colours represents not only the various communities who have migrated to Kochi centuries ago to benefit from the thriving spice trade business and still continue to reside in the city, but also the Kochi-Muziris Biennale visitors. Samant is collaborating with a weavers cooperative in the small town of Chendamangalam located in the historic Muziris area, known for its hand-woven fabrics that also represents the hand-loom industry of Kerala and working along Raju, a local master weaver and designer.
Urban renewal and overdevelopment propelled by the real estate boom in Kerala which have greatly impacted many historical townscapes set the context for Dinesh Shenoy's work. The artist's impressive collection of architectural drawings and paintings presents the material culture and heritage of the diverse communities in Kochi. The use of sepia lends the works a vintage look, referencing conventions of early photography. According to Shenoy an in-depth study of buildings can reveal intercultural exchanges, particularly visible in the case of religious architecture - for instance where dominant Hindu styles were employed to construct Christian, Islamic and Jewish temples.
Cop Siva's work reflects on the issues of exclusion, both in the context of Kochi's multicultural past and the present. Shiva traveled around Kochi in a rickshaw with a life-size cutout of Galaxy of Musicians, the iconic Keralan painting by Raja Ravi Verma, in a symbolic gesture to bring it back to the people. The original painting shows women dressed in regional attires playing local musical instruments and was inspired by the tradition of group studio portraits, which exclude common people. Siva photographed people he met posing next to the painting and used the meetings as an opportunity to discuss the relevance of Kerala's historical cultural diversity depicted in the painting to their daily lives.
?ukasz Surowiec frequently works with socially or economically excluded such as the homeless, alcoholics and the unemployed to create new models of social relations. Black Diamonds is a series of coal sculptures (so far over 600 pieces have been produced) in the shape of diamonds, each weighing 150 to 200 grams. They were created by job-seeking former coal miners in the Upper Silesia mining region of Poland. The project draws attention to the still unresolved problem of unemployment which was the result of the decline of the Polish mining industry in the 90s, after the introduction of free market reforms. The proceeds from the sale of the sculptures are used to produce more diamonds.
Local textiles are also the subject of Gopakumar R's work. In The Lungi Series he uses a common local textile called lungi, which is an unstitched piece of garment worn by males as a wraparound to represent images of daily lives in rural Kerala. It is typically the attire of working class people, farmers and daily wage labourers. Gopakumar uses low quality lungi fabric to render striking portraits of people from these communities, acknowledging the culture, the labour, and the contribution of the often underrepresented class to the society.
Julita Wójcik’s Rainbow sculpture is a 9 meter tall and 26 meter long installation made from steel and artificial flowers located in the middle of Zbawiciela Square in central Warsaw. Initially simply standing for positive feelings it soon became associated with the LGBT movement in Poland, becoming a bargaining chip in the hands of activists and politicians. Several attempts to burn down the work led to vast coverage in the Polish media and initiated a national debate around LGBT rights. The recreation ofRainbow in the public space of Jew Town in Kochi, with flowers produced by a local women's co-operative, aims to bring LGBT rights into the local debate. The structure will be physically supported by a historic Jewish building in the Synagogue Lane, highlighting the importance of various minorities for Kochi.
Like much of Artur ?mijewski's work, Repetition explores the aesthetics of violence and segregation, where artist takes a role of a „laboratory scientist,” arranging quasi-therapeutic situations. The video records a re-enactment of the Stanford Prison Experiment – the famous 1971 psychological study of human behaviour in prison conditions, conducted by Professor Philip Zimbardo at the US Stanford University - realised by the artist in Warsaw in 2005. The original experiment had to be interrupted as groups playing roles of guards and inmates started manifesting behavioural patterns normally regarded as pathological.
Critical Juncture was initiated and curated by Indian curator Neelima Jeychandran and UK-based Polish artist-curator Magda Fabia?czyk with conceptual advice from Alicja Rogalska.
Critical Juncture is co-financed by the Ministry of Culture and National Heritage of the Republic of Poland, Polish Cultural Institute in New Delhi and private donations.
We are also grateful to friends in India, Poland, UK and USA for helping us to make the project happen.
Critical Juncture: Looking at Indian and Polish Cultural Collaborations International Seminar and Workshop
at Sree Sankaracharya University of Sanskrit, Kalady
The seminar “Critical Juncture: Looking at Indian and Polish Cultural Collaborations” aims to critically reflect upon the ethical issues surrounding cross-cultural collaborations and creative exchanges in a globalised market. Focusing on the relationship between the individual/group and society, and problems of representation, artists, academics, and cultural theorists from India, Poland, and the United Kingdom are invited to talk about new methodologies of collaboration. They will present their views on important contemporary discourses around questions of agency, voice, and narration. By addressing the nature and influence of such exchanges, this public forum hopes to stimulate an open discussion on the significant artistic engagements between these nations, both historically and in the present-day.
Govinda Sah, Salvation, 2011, Oil and acrylic on canvas, 148 x148cm.
Photo Jonathan Greet, Image courtesy October Gallery, London.
Govinda Sah ‘Azad’: Lightness of Being
31 October – 30 November 2013
October Gallery, London, presents Lightness of Being, a solo exhibition by Govinda Sah 'Azad’, comprising both small and larger-scale paintings on canvas.
Following his recent solo show in New York, The Universe Within (2013), this Autumn’s exhibition marksSah’s second showing at October Gallery. Born in Nepal, where he studied Fine Arts at Tribhuvan University, Kathmandu, before completing his MFA at Wimbledon College of Arts, in 2008, Sah now lives and works in London.
What marks Govinda Sah’s art as exceptional is not simply his dedicated pursuit of the painter’s craft, nor the quality of the technical skills he masters to create these canvases, but rather the effortless manner in which he balances traditional eastern metaphysical insights about the nature of reality with visual realisations that are in accord with the latest formulations of contemporary western science. His first showing, Transcriptions (2011), revealed the extraordinary breadth of Sah’s perspective, detailing an astonishing range of visionary imagery: imaginary vistas of intergalactic fields sown with primal matter, vivid cosmogonic explorations, super-novae explosions brilliantly illuminated in chiaroscuro and the birth of stars, coalescing from clouds of interstellar dust.
The new oil and acrylic works presented in Lightness of Being, concentrate more particularly on those emergent cloud formations themselves. Clouds, the most obvious and therefore least regarded element of the landscape painter’s field, are here, following in Constable’s footsteps, subjected to minute analysis. Sah’s cloud-scapes represent energy transformations between different physical states and become metaphors of our collective emotional states.
The cloud is an ancient symbol of connection between heaven and earth, between water and air and between the natural and the supernatural orders in many different traditions around the world. Sah’s carefully textured layers of paint, capture the mystery and complexity of clouds suffused with colourful bursts of energy radiating from hidden sources of light. As Sah notes,
“Most people see clouds as nothing more than an irritating annoyance, since they smother up the sunshine’s warmth, yet they are critical agents in the constant recycling of water on our planet. Put simply, these transitory clouds are essential to life and to sustaining the lives of so many creatures, which is why, more than anything else, they fascinate me.”
It was this remarkable ability to strike out in novel, unexplored directions and to rise to new challenges that led the renowned Nepalese artist, Govinda Dongol, to dub Govinda Sah as ‘lion-heart’. In Lightness of Being, Sah draws together his inquisitive speculations about the nature of reality and the interactions of beings in space and time with astounding images that play with ideas of lighting and lightness in ways that few artists today even dream about.
Exhibition: Govinda Sah ‘Azad’ – Lightness of Being
Exhibition Dates: 31 October 2013 – 30 November 2013
Private View: Wednesday 30 October 2013
Venue: October Gallery, 24 Old Gloucester Street, London WC1N 3AL
Telephone: 020 7242 7367
Fax: 020 7405 1851
Opening hours: Tuesday – Saturday 12.30 - 5.30pm
Nearest tubes: Holborn/Russell Square
Buses: 19, 25, 38, 55, 168 and 188 Press contact: Alana Pryce Tojcic - 020 7242 7367
"Art Meets Poetry" sponsored by THE CITY OF TORINO
Friday, September 27, 2013 - at 18.00
Arte Città Amica Gallery
Via Rubiana, 15
The exhibition will be open until October 6, 2013
• Tuesday - Saturday from 16.00 to 19.00
• public holidays from 10.00 am to 12.00 pm - Monday closed.
Interesting exhibition with more than 60 artists who present artworks with different styles and techniques, from figurative art to abstract expressionism, from engraving to sculpture. As parallel event: Homage to Lawrence Ferlinghetti and Agneta Falk, artworks inspired to the poems "Temporary Tenants” by Lawrence Ferlinghetti and "In The Blue" by Agneta Falk.
Since 2010 the Beat Generation poet Lawrence Ferlinghetti has collaborated with the associations Arte Città Amica and Immagine & Poesia, the literary artistic movement that proposes
"moments of cross fertlization" between artists and poets.
This year also Agneta Falk, Anglo-Swedish poet and artist, Dean of Art at the Free University of San Francisco, has sent her poem for this project.
The event will be reported by the Press Office of Lawrence Ferlinghetti in San Francisco.
The participating artists:
Giampiero Actis, Sergio Aimasso, Egidio Albanese, Corrado Alderucci, , Mauro Azzarita, Margherita Baldelli, Claudio Bellino, Enrica Berardi, Davide Binello, Gianandrea Bodo, Eugenia Botezatu, Fabrizio Brazzale, Antonio Branca, Valeria Caldera, Adriano Carpani, Gian Castelli, Anna Cervellera, Lidia Chiarelli, Gianfranco Coppa, Isidoro Cottino, Alessandro Criscuoli "Chantal", Giovanna D'Avenia, Alfredo De Leonardis, Elsa De Mattei, Michele De Stefano, Piero Ducato, Valeria Facello, Angela Gabriella Farella, Silvia Finetti, Luciana Francone, Nobue Fujii, Carla Gentile, R Gopakumar - India/Bahrain, Adel Gorgy - Long Island, Franco Gotta, Giovanni Gravante, Claudio Guasti, Fiorenzo Isaia, Gaetano Lanatà, Elda Lazzaretto, Gabriella Lucatello, Giovanna Magaddino, Giuseppe Maina, Giuseppe Manolio, Mirella Mendola, Maria R. Giovenale "Moja", Mary Morgillo, Laura Mosca, Giovanni Moscatelli, Francesco Murlo, Nikolinka Nikolova, Cristina Novella, Giuseppe Pietro Obertino "OBER" Franca Valeria Oliveti, Angelo Piras, Paolo Pirrone, Ilaria Pizzimenti, Nazareno Randò, Gaetano Rizzari, Antonio Robella, Giovanni Russo, Fernanda Sacco, Marsha Solomon - New York, Danila Salvadore, Giuseppe Sanino, Maria Scalia, Lucia Sconfienza, Rita Scotellaro, Renata Seccatore, Gianni Sesia Della Merla, Ilario Simonetta, Luciano Valensin, Pietro Giorgio Viotto, Roberto Vitali, Laura Zecchini, Loredana Zucca.
YICCA 2013 Young International Contest of Contemporary Art
A.p.s Moho Association is pleased to announce the official opening of the Yicca
The contest 2013 is the natural continuation of Yicca 2009 contest, where the great
success with over 1000 participants has prompted the association to expand its relations
and cooperation with galleries and professionals.
It stands to reason that promotion of "our" talents within the art market is our main aim.
The selected artists will have the opportunity to exhibit their artworks in a exhibition space
of an important european city during November 2013
Among the 12 artists participating in the exhibition will be proclaimed the first and the
second classified who will win respectively 3000 (three thousand/00) and 1000 (one
They will be included in "Yicca 2013" catalogue, as well, and finally the artists will be invited to stay in the city of the exhibition on the opening day at the expense of A.p.s Moho Association.
The are no special qualifications requiered for entry.
The contest is open to all artists or groups of artists and professionals who are at least 18 years old.
The contest is open to all artists or groups of artists and professionals from any country.
• March 19, 2013: Beginning of registrations
• August 31, 2013: Registrations deadline
• September 23, 2013: Winning works notification
• November 2013: Exhibition - YICCA 2013
Anyone who would like to receive an invitation for the inauguration of the exhibition is
requested to apply for the e-mail: email@example.com
The inauguration will be accompanied by a buffet.
All information about the terms and conditions of registration can be found on the official
The deadline for submissions is set for August 31, 2013.
Registration requires payment EUR 30.00 fee.
We expect to realize a final catalogue that will be available for free during the exhibition.
Anyone who wants to book it, can send a shipping address and a number of copies on
For any further information please contact: firstname.lastname@example.org
Further details and information kit can be requested by e-mail : email@example.com
CONTACTS YICCA 2013 Young International Contest of Contemporary Art
Created and managed by:
A.p.s. Moho Association
via Monte Sabotino, 2
33038 San Daniele del Friuli (Ud), Italy
P.i. e C.f. : 94111450303
phone +390240707605 ( 9:00 – 12:00 am – Mon. Fri. - english language )
Staff : Massimo Toffolo
art director and executive director
art director assistant
secretary and press dept
public relations and artist coordinator
Alberto Del Monego
logistics and transport dept.
Sonia Caballero Moreno
Fabio and Ginevra De Marchi
Red Bul Consulting OOD
Moho A.p.s. Association authorizes everyone to download this press folder and publish the contents and logos of the
competition on all the media channels including press and internet. YICCA 2013 Young International Contest of Contemporary Art
Colours - Peace & Solidarity
Starts from 22 July to 5th August - Årjängs Bibliotek, Galleri Passagen, Sweden.
Italy; Agnès Trachet,
France; Anisja Rossi,
Croatia / Switzerland; Marit Risto Fagerli,
Norway / Sweden
; Marjo Mommersteeg,
; Fotini Hamidieli,
; Sirpa Mononen,
Finland / Switzerland
; Perdita Felizitas,
Germany / Austria
; Gianpiero Actis,
; David Hacker.
; Han Stuster,
Holland / Norway
; Jon Baird,
; Alessandro Actis,
; Zalans Ilgvars,
; Gopakumar. R,
India / Bahrain
; Nikolaus Hirschmann,
We are happy to inform you that the Governor of West Bengal, H.E.Shri M.K.Narayanan has consented to grace and inaugurate the exhibition titled "Between Darkness and Magic – examining the Kerala metaphor" at Cima Gallery on Friday 7th December, 2012 at 6.30 p.m.
We would be much obliged if you could also participate with your presence at the opening.
Emerging krishna by sanjay bhattacharya, Curator Uma Nair
For further enquiries please contact:
Mr Surath Singh, Head, Business Development and Sales, Phone No: +91 11 39126225 Cell No: +91 9711045555 Ms Lyla Rao, Client Services, Phone No:+91 11 39126928 Cell No: +91 9717805353 Religare Arts Initiative Limited, Ground Floor, Wing A, D3, P3B, District Center, Saket, New Delhi -110017
T: +91-11-39126922, |Fax:+91-11-39126937 | http://www.religare.in | www.religareart.com
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KASHMIR Photographs by Amit Mehra at PHOTOINK. Opening reception on Saturday, November 3rd, 6:30 to 8:30 PM
PHOTOINK is pleased to present the exhibition, Kashmir, a series of photographs by Amit Mehra. Between 2006 and 2011, Amit Mehra visited Kashmir twenty-five times and only photographs from the last two years of that period were selected for this exhibition. For any photographer in Kashmir, it is hard to ignore the complex political narratives of the separatist movement and the insurgency that followed. Most of the images we’ve seen in the past two decades were made to service the written word, which demanded images of protest, trauma, death, funerals and evidence of state oppression. For Amit Mehra, this was both a dilemma and a trap. Was it possible to make a different kind of photograph, which was introspective and not illustrative? Could the anguish and pain of two decades, and perhaps more, be expressed without repeating what had been seen before? Was it possible to represent Kashmir without photographing the presence of the security forces and yet be able to suggest what it was like to live under constant surveillance? These were some of the questions, which preoccupied Amit Mehra during his travels in Kashmir.
This exhibition of photographs of contemporary life in Kashmir is vastly different from the expected. The streetscapes and landscapes are devoid of drama and imbued with stillness and silence. Very often, it’s a disconcerting silence. The pace of the passersby on the streets is hurried and people are engrossed in their thoughts. Amit Mehra rarely uses the confrontational approach to make portraits and instead obscures one’s view of people by photographing through windowpanes, cars etc. It is hard to ignore the distance he creates between himself and the people he photographs. Perhaps the diffidence he felt as an outsider was a way to shelter his subjects from sharper scrutiny. Or perhaps this was one way of presenting the emasculated individual caught in the battle between the state machinery and the insurgency.
Another notable aspect of this series is the unobtrusive presence of the photographer. He wandered through many streets and localities, which had witnessed extraordinary tumult and loss and the photographs are evocative of the fragile peace he discovered. Photographing in militarized zones as a street photographer is not common practice and being an outsider without spoken allegiances was therefore fraught with challenging situations. Yet Amit Mehra manages to invest in his photographs a quiet purpose which when viewed collectively have restraint and a touch a melancholy. One wonders then, how much the troubled conscience of the photographer comes to bear on the making of these photographs.
The exhibition photographs can be viewed on – www.photoink.net (November 3rd onwards).
Gallery hours: Tuesday to Saturday, 11 AM to 7 PM. Closed on national holidays.
Director of Photography PHOTOINK MGF Hyundai Building, Ground Floor
1 Jhandewalan, Faiz Road
New Delhi 110005
NGMA Bengaluru, in collaboration with Alliance Francaise, is happy to announce a talk on 'Contemporary Art in Public Spaces' by Mr. Guy Claverie and Ms. Archana Prasad on 4th November 2012 at 5.30 pm. A detailed e-invite is embedded below.
Entry is free on first come first serve basis.
All are welcome!
National Gallery of Modern Art
Manikyavelu Mansion, 49 Palace Road,
Aicon Gallery New York - Jamini Roy & Somnath Hore: Figuration in the Bengal School - Thursday, November 1, 6:00-8:00pm
Aicon Gallery New York is delighted to invite you to the V.I.P. Preview and Opening Reception for Jamini Roy & Somnath Hore: Figuration in the Bengal School, an exhibition exploring the aesthetic polarities and extremes of representation and artistic vision within India's Bengal School of Art, through works by two of its masters.
Aicon Gallery | 35 Great Jones Street | (bet Bowery Ave and Lafayette Ave) | New York | NY | 10012
cordially invites you to the preview of
A group show of fourteen artists.
on 2nd November 2012
6 pm onwards
on view until- 7th November 2012
11 am- 8 pm (open all days)
72 Lodi Estate
New Delhi- 110003