Art
Different Mission-Sudarshan Shetty
Sudarshan Shetty, the frontman of KMB 2016, talks to FWD about art, himself and the plans for the Biennale.
As an artist, one is occupied with his work, while being a curator is a different game. Or is it the best of both? So what’s it like being in the shoes of a curator?
I am working out the transition in my head now. As a curator, I have to extend beyond my practice and look beyond. It would be a large process, starting with arranging the basic logistics, working with a team and seeking people’s inputs. A lot of propositions and counter-propositions will be made, and I believe it will be a very energetic confluence. I’m hoping to reach there soon so that we have enough time to work on executing the ideas. The Biennale, for me, is a real proposition to extend beyond my practice as I am out there constantly. It could help me change the way I look at my own work and may also help in evolving it. Nonetheless, it’s going to be an intense experience working with other artists, getting into their studios, into their personal spaces and also into their heads.
Your artwork was displayed in Biennale 2012; so this in some sense is a revisit. How do you look at it? On A Different Mission.What is your take on the Kochi Muziris Biennale?
I think the KMB has managed to create a unique personality for itself within the short period of its existence. The original vision of Bose (Krishnamachari) and Riyaz (Komu) about reaching out and taking it to the people is etched into it. The location of Kochi also makes it special. The Biennale is almost a continuation of the cross-cultural history of Kochi as it includes world views from elsewhere. I think this is a logical continuation of a history of the place.
Could you talk about your art, your life and the ideas that helped you form your thought processes?
I lived in Bombay most of my life and went to the JJ school of art in the eighties. At JJ, I realized that art was not what I thought it was. I found that it was not totally about skill. I found out that even to attain skill, there had to be some content. This led me into doing a lot of sculptural work though I was never trained as a sculptor. I spent a lot of time working with many established sculptors and learned a lot being with them. I started with mundane objects and started juxtaposing to create unlikely forms. I started looking at what happened with these juxtapositions and why the juxtaposition was necessary? In some sense, I have been questioning the idea of what it means to be an artist. That is the seed of what I am doing right now.
What are the kind of works that have influenced and inspired you?
I have always been inspired and influenced by the kind of Kabir and so. Dohas, for instance, demonstrates an image and a counter- image creating a vast speculative space in between. Take the doha, “Lagan binajaagenanirmohi” for instance, it says that without intense devotion, one cannot be detached. Such imagery that is essentially Indian(for the want of a better word) fascinates me. This notion of ideas that are contradictory, yet not mutually exclusive is what I try to replicate in my work.
With the Biennale, Indian art and artists get larger market spaces. Do you think this plays a role in art and artists?
Yes, it surely plays a role, but a limited one. It is the artist who decides the extent he would want the market to infiltrate into his art. There are artists to whom fame and money have done the world of bad, and there are others who have flowered with fame. We were lucky when we were younger, to be in a space where there were no market expectations. It gave us freedom from the responsibility of making money. We were luckily stupid enough to have joy and pride in being an artist and believing that we were outside the system. Do you see a similar sense of adventure in Indian artists these days?
It is a prerequisite for an artist to challenge oneself and be challenged or else he’ll lose the urge to create art. But, I don’t think all artists do that.
Have you worked with the artists in Kerala? Are you looking forward to being in Kerala?
I see this as an opportunity to look at Kerala, understand the art and films here. As students at J.J, there was a time when we looked up to Aravindan, John Abraham, and Adoor. The Stories of Film club movement in Kerala floated its way to Bombay, and we had people replicating it. So yes, I am really looking forward to seeing the various sides of Kerala.
Text: FWD Media Photos: Various Sources
Art
Navratri 2024: Celebrating the Nine Colours and Their Significance
Navratri, the festival that spans nine nights, is one of the most auspicious and widely celebrated festivals in India. Dedicated to the worship of Goddess Durga in her nine forms, each day of Navratri holds special significance, marked by a distinct color that carries deep spiritual and cultural meaning. As we prepare for Navratri 2024, let’s explore the nine colors associated with each day, their significance, and how they inspire devotion, positivity, and harmony.
Day 1: Yellow
On Thursday, embrace the uplifting energy of yellow as you celebrate Navratri with optimism and joy. This warm and cheerful color symbolizes happiness and radiates positivity, keeping you in high spirits throughout the day.
Day 2: Green
On Friday, wear green, a color that represents nature, growth, and harmony. It evokes a sense of peace and serenity, while also symbolizing new beginnings. Let the vibrant energy of green invite tranquility and the blessings of the Goddess into your life.
Day 3: Grey
Saturday calls for the subtle sophistication of grey. This balanced color keeps you grounded and calm, symbolizing composure and understated elegance. It’s perfect for those who want to participate in Navratri with grace while making a refined style statement.
Day 4: Orange
On Sunday, adorn yourself in the vibrant hue of orange. This color embodies warmth, exuberance, and positivity. Wearing orange during Navratri invokes an upbeat energy, bringing vitality and a lively spirit to your celebrations.
Day 5: White
Start your Monday with the purity and serenity of white. Associated with innocence and spiritual clarity, this color invites inner peace and helps you connect with the divine blessings of the Goddess, offering a sense of security and calm.
Day 6: Red
On Tuesday, red takes center stage, symbolizing passion, love, and strength. As one of the most auspicious colors, red is often offered to the Goddess in the form of a Chunri. Wearing red fills you with energy, vigor, and the vibrant spirit of Navratri.
Day 7: Royal Blue
Wednesday’s color is royal blue, representing elegance, richness, and tranquility. This deep, vivid shade of blue exudes confidence and sophistication, making it an ideal choice for those who want to celebrate Navratri with style and grace.
Day 8: Pink
On Thursday, don the charming hue of pink, a symbol of universal love, affection, and harmony. Pink is a color that adds a soft touch of warmth and approachability, making it perfect for creating a loving and joyful atmosphere during the festivities.
Day 9: Purple
On the final day of Navratri, purple takes the spotlight. Associated with luxury, nobility, and grandeur, purple invites opulence into your life. Wearing this regal color while worshipping Navdurga bestows blessings of prosperity and richness, making it the perfect way to end your Navratri celebrations.
Art
Exploring the Rich Tapestry of Indian Art: A Journey Through State-Wise Traditional Paintings
India’s artistic heritage is a vibrant mosaic, reflecting the diverse cultural traditions of its states. Each region has its unique style of painting, with techniques and themes passed down through generations. Let’s delve into some of the most iconic traditional paintings from different states of India.
1. Madhubani Painting (Bihar)
Originating from the Mithila region of Bihar, Madhubani painting is known for its intricate patterns, bold colors, and themes inspired by nature, mythology, and folk tales. Traditionally, these paintings were done on mud walls, but now they are also created on cloth, handmade paper, and canvas.
Distinctive Features: Use of natural dyes, double outlines, geometrical patterns, and motifs like flowers, animals, and deities.
2. Pattachitra (Odisha and West Bengal)
Pattachitra, meaning ‘cloth painting,’ is an ancient art form from Odisha and West Bengal. These paintings depict mythological narratives, especially around Lord Jagannath, and are characterized by their intricate details and mythological themes.
Distinctive Features: Fine detailing, elaborate borders, vibrant use of colors, and the use of natural ingredients for dyes.
3. Warli Art (Maharashtra)
Warli art is a form of tribal painting from Maharashtra, traditionally done by the Warli tribe. It primarily uses white pigment on a mud base to depict daily activities, such as farming, hunting, and dancing, in a minimalistic yet expressive manner.
Distinctive Features: Simple geometric shapes like circles, triangles, and squares, which represent different elements of nature and human life.
4. Tanjore Painting (Tamil Nadu)
Tanjore (or Thanjavur) paintings, originating from Tamil Nadu, are known for their rich colors, surface richness, compact composition, and use of gold foil. They often depict Hindu gods and goddesses, with a focus on Lord Krishna and other deities.
Distinctive Features: Use of vibrant colors, gold leaf, and inlay work with semi-precious stones on wooden boards.
5. Pichwai Painting (Rajasthan)
Pichwai paintings, hailing from Rajasthan, are intricate paintings that portray the life of Lord Krishna, especially in the Nathdwara temple. These paintings are traditionally done on cloth and used as wall hangings behind the deity in temples.
Distinctive Features: Detailed depiction of Lord Krishna’s life, use of bright colors, and the portrayal of various scenes from the Bhagavad Purana.
6. Phad Painting (Rajasthan)
Phad painting is a narrative scroll painting from Rajasthan, where the stories of folk deities like Pabuji and Devnarayan are depicted. The paintings are done on long pieces of cloth and are used in religious storytelling.
Distinctive Features: Bold lines, earthy colors, and the depiction of deities and their exploits.
7. Kalamkari (Andhra Pradesh)
Kalamkari, literally meaning ‘pen work,’ is an art form from Andhra Pradesh that involves hand-painting or block printing on fabric. The themes are largely mythological, with stories from the Ramayana and Mahabharata being common subjects.
Distinctive Features: Intricate handwork, natural dyes, and a distinctive color palette dominated by earthy tones.
8. Pithora Painting (Gujarat and Madhya Pradesh)
Pithora paintings, created by the Rathwa and Bhilala tribes of Gujarat and Madhya Pradesh, are done on the walls of their houses. These paintings are part of a ritual to invite the gods and ensure prosperity and happiness.
Distinctive Features: Vibrant colors, ritualistic significance, and the depiction of gods, animals, and scenes from daily life.
9. Chitrakathi Painting (Maharashtra)
Chitrakathi is a traditional art form from the Maharashtra-Karnataka border, where paintings are used as visual aids in storytelling. These paintings often accompany performances that narrate stories from epics like the Ramayana and Mahabharata.
Distinctive Features: Simple yet expressive figures, use of natural colors, and the narrative style.
10. Saura Art (Odisha)
Saura art is a form of mural painting by the Saura tribe of Odisha. It is similar to Warli art but has its unique elements, depicting the tribe’s daily activities, rituals, and deities.
Distinctive Features: Monochrome palette, linear style, and the depiction of nature and community life.
The diverse painting styles of India offer a glimpse into the country’s rich cultural heritage. Each state’s art form is a testament to the creativity and traditions that have been nurtured for centuries. By exploring these traditional paintings, we not only appreciate their beauty but also connect with the stories and values that have shaped India’s cultural landscape.
Art
The Microscopic Handbag Phenomenon: MSCHF’s Bold and Tiny Louis Vuitton Creation
In the realm of fashion, innovation knows no bounds, and the boundary-pushing collective known as MSCHF constantly proves this point. Their latest creation, a microscopic handbag inspired by Louis Vuitton, has taken the industry by storm, captivating fashion enthusiasts around the globe. Breaking free from traditional size constraints and redefining functionality, this miniature accessory has ignited curiosity and sparked a sensation. Join us as we delve into the extraordinary world of MSCHF’s microscopic handbag, exploring its origins, unique features, and the remarkable buzz it has generated.
MSCHF, renowned for their unconventional and thought-provoking projects, partnered with luxury fashion house Louis Vuitton to unleash a game-changing collaboration. Together, they birthed a surprising twist on the classic handbag, pushing the boundaries of scale to an entirely new level. The microscopic handbag challenges the norm and introduces an audacious new concept.
Measuring a mere 1.5 inches in height, the microscopic handbag is a masterpiece of miniaturization. This whimsical accessory captures the essence of a traditional Louis Vuitton purse, complete with the iconic monogram pattern and signature leather trim. Despite its minuscule size, it exudes luxury and craftsmanship, embodying the brand’s prestige and aesthetic.
The MSCHF microscopic handbag represents a captivating fusion of fashion and art. It blurs the lines between these creative realms and prompts us to question our perception of material possessions. Through this micro-sized wonder, MSCHF challenges our understanding of fashion’s role in society and invites us to contemplate the value we attach to material goods.
Since its introduction, the microscopic handbag has caused a viral sensation across social media platforms. Its diminutive size and unexpected collaboration have captivated fashion enthusiasts and sparked intriguing discussions. This extraordinary creation serves as a catalyst for conversations about fashion trends, the power of satire in design, and the evolving landscape of the industry. Once again, MSCHF has successfully captured the attention of the fashion world, pushing boundaries and reshaping our perception of what is considered fashionable.
MSCHF has cemented its legacy as a disruptive force in the fashion and art realms. Their innovative and thought-provoking projects consistently challenge norms and captivate audiences. With the microscopic handbag, they have once again showcased their ability to generate intrigue, spark conversations, and inspire wonder within the industry.
In conclusion, the MSCHF microscopic handbag stands as a testament to bold creativity and audacity in the world of fashion. Its tiny size and unexpected collaboration with Louis Vuitton have shattered conventional handbag design and ignited curiosity on a global scale. This extraordinary creation not only exemplifies the artistry and innovation of MSCHF but also invites us to reflect on the ever-evolving nature of fashion and its profound impact on our collective imagination. As we eagerly anticipate MSCHF’s next groundbreaking venture, one thing is certain: they will continue to redefine the boundaries of what is possible in the world of fashion.
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