The Open Frame: A Film on S G Vasudev

By Vishal Tondon

The Nandan exhibition hall at Kala Bhavan, Santiniketan, was the venue for the screening of the film ‘The Open Frame’ on the 29^th of August 2011. This film tracks the artistic and personal journey of the veteran artist S G Vasudev.

The film is directed by Chetan Shah, who has the distinction of having been an assistant director on the film ‘A Passage to India’ that was based on the eponymous novel written by the canonical author E M Forster.

‘The Open Frame’ also boasts of having Navroze Contractor as its cinematographer. Navroze is an accomplished and well regarded film maker in his own right. Just the evening prior to the screening of ‘The Open Frame’, we had the pleasure of watching a film directed by Navroze. On view the previous evening at the Indira Gandhi Centre for National Integration, Santiniketan, was the documentary called ‘Jharu Katha’ directed by Navroze Contractor. I shall give more details of this screening later.

Coming back to the film ‘The Open Frame’, special mention needs to be made of the smooth narrative that was a result of the perfect collaboration between the director, the artist-subject and the cinematographer. The film itself was as painterly as the canvases of S G Vasudev.

‘The Open Frame’ exposed us to S G Vasudev’s formative years during the early 1960’s, and his involvement with the Cholamandal Artists’ Village at Tamilnadu. The artists’ village was the answer to a dire need; a space where artists could interact with each other, and through the involvement of the local artisans come up with the crafts products that could help sustain the community. It is also with regard to this background of indigenism that we must view and assess S G Vasudev’s work.

The narrative of the film seamlessly incorporates inputs by art historians like Geeta Doctor, colleagues like Amit Ambalal, contemporaries from theatre like Girish Karnad and Arundhati Nag, the artist’s journalist wife Ammu Joseph and gallerists like Geeta Mehra.

The film carried insights into the artist's work, the Madras Art Movement, and the Cholamandal Artists' Village by art historians like Ashrafi Bhagat and Sadanand Menon too. Sadanand Menon has earlier written the text for a book, titled 'Past Forward', on S G Vasudev's work.

The film also threw light on S G Vasudev’s contribution to the growth of the arts community in Bangalore by being a major inspirational force behind the setting up of the Department of Visual Arts at the Bangalore University. His endeavors have also helped nurture - through the assistance provided by the Arnawaz Vasudev Charities - young artists like Shantamani, N S Harsha and Ravi Kashi amongst others.

At the end of the film screening, there was an open session where the students of Kala Bhavan interacted with the artist, the film maker and the cinematographer, and were able to elicit insightful comments from them. 

The DVD of the film 'The Open Frame' will include a separate disc with footage arranged around discussions on various subjects, such as the concept and practice of the Cholamandal Artists' Village, the debate around art and craft etc.

Workshop on Curating Visual Culture, Kochi, Feb 2011

By Vishal Tondon

Recognizing the dire need for curatorial studies in India, the Association of Academics, Artists and Citizens for University Autonomy (ACUA), Vadodara, with Prof. Shivaji K  Panikkar and Santhosh Sadanandan at the helm, have conceptualized a traveling workshop series addressing curatorial practice. The workshop is an initiative of India Foundation for the Arts (IFA), Bangalore, and is funded by the Jamsetji Tata Trust.

The first of this series of workshops was held at Vadodara last year. The second workshop, with the thematic focus ‘Curating Visual Culture: The Questions of Region, Gender and Sexuality’, was held at the RLV college of Music and Fine Arts at Kochi this year between 7-12 February. I too was accepted as a participant in the Kochi workshop, and the seminar was a great learning experience for me.

The resource persons were from diverse but interrelated fields like art history, curating, gender studies, contemporary Indian History and activism. Professor MSS Pandian, who teaches Contemporary Indian History at the Jawaharlal Nehru University (JNU), New Delhi, enlightened us on issues related to the shifting relationship between nation and region, while Professor Nivedita Menon – again from JNU, and who has worked extensively on gender, feminism and sexualities – gave a very fascinating account on ‘sex’ and ‘gender’ as biological and cultural constructs. Her presentation was dotted with many amusing anecdotes on how science, literature and society try to build the rigid binary construct of gender. Sunil Gupta, an artist, curator, writer and cultural activist, spoke on his experiences with the curating of an exhibition on photography and LGBT issues. Raimi Gbadamosi, an artist, writer and curator, made a presentation on his project, ‘The Republic’, which negotiates the meeting of race, power, language and social constructions. Sunil and Raimi have both, in their own separate ways, consistently through their work tried to combat the cabal of sexual, gender and racial discrimination. Rakhee Balaraman, who is currently Visiting Faculty at JNU, and who is presently working on a book titled ‘Twentieth-Century Indian Art’, explored through her curatorial concept how economic and physical limitations of space and women’s creativity function within an age of globalism and particularly within a South Asian context. Also, artist and curator Bose Krishnamachari made a presentation on aspects of his major curatorial venture called ‘Double Enders.’        

The participants formed an exciting cluster, as there were young curators and art lecturers sharing space with students. We were each asked to conceptualize a curatorial project and make a presentation on this. Surya Singh’s very interesting concept signified the importance of kitsch, found objects and communication technology in contemporary art practice. Akansha Rastogi, a fiery, young enthusiast, came up with the idea of archiving the private interior spaces of artistic production that is the artists’ studio! Sumesh Sharma’s grave and significant concept wished to work through the way proletarian aesthetics were reflected in contemporary art from Kerala. Gopika Jadeja spoke on the very fascinating pamphlet project of the ‘Five Issues Performance-Publishing Interface’ that she and her team have been working on. This interface explores the faultlines of region, gender, place and identity in India and elsewhere. Srinivas Aditya Mopidevi, another young and enthusiastic curator, came up with a concept that explored how one could possibly adopt diverse spatial strategies of display within the gallery space. Jayashree Venkatadurai, through explorations of non-Hindu pasts of Tamil Nadu – and specifically Jain monuments – threw light on the plural sources of Tamil cultural practices. Nuria Querol presented a very informative paper on the impact of globalization on Indian curatorial practices. A very inspiring presentation by Kavitha Balakrishnan raised an inquiry into what are the difficulties in doing justice to the presentation of ‘an erotic being’ in a gallery space which is sacralised by ideologies. My own curatorial concept brought together works that expounded on the performative aspects of gender. Finally, Georgina Maddox, through a very spirited presentation, spoke on aspects of the queer gaze. 

  

On the last day, the workshop wound up with the viewing of an electrifying package of ‘Queer’ videos curated by Georgina Maddox, and with a valedictory session by Prof. Shivaji Panikkar and Santhosh Sadanandan.

Installation Practices in and Around Santiniketan

-Vishal Tondon
This article appeared in Art News and Views, December 2010

 The Briksharopan Ceremony

Since its very inception, Santiniketan has had a practice of ritual-based community events. Initially, these helped foster the spirit of nationalism, inculcate a spirit of community, and create a role model for civic life in the soon-to-be an independent and free young India, Tagore made a conscious effort to appropriate the models of religious rituals and apply them to non-religious, secular community activities such as Briksharopan (tree-planting ceremony) and Vasanto-Utsav (celebration of spring). Integral to these rituals and programs was décor; the decorative paraphernalia and hand-made objects. Things were arranged, installed and new connotations created. Kala Bhavana participated in these events with its own unique inputs mainly from Nandalal Bose, and also invented certain details of these rituals. Being secular in nature, these rituals were open to creative interventions and had a close association with nature; invocation of nature was one central objective of these rituals. For instance, special attention was paid to using locally available and natural materials like foliage, flowers and the vocabulary of indigenous art and craft. Even the clothes used as hangings or for canopy and costumes were spun, dyed, embroidered and painted locally – all these can be regarded as a precursor of what we today know as installation and outdoor sculptures. 

Of particular interest is the practice of outdoor art as a kind of public art – especially that by Ramkinkar Baij – absolutely different from the prevalent practice of Nationalist statues of Baij's time. These were made open air, without much fuss about longevity or sanctity accorded to the material used. They were intended to be a part of the environment, and for the enjoyment of the local inhabitants. They were inspired either by the ways of the indigenous people or by literary characters.   

    

We now have a specific definition of what installation practice is. It is interesting to note that Briksharopan even now fits the bill as far as a contemporary definition of a performance-installation is concerned. A tree is ceremoniously planted every year on this day, and the ritual is a symbol of the larger efforts to create greenery in and around Santiniketan. To analyze the activity according to modern criteria, Briksharopan is a site specific and recurring event. It follows real time practices, and has a performative nature as the process involves the intention and active participation of the public. 

In the West, site-specific and performance oriented installation practices began with the motive of challenging the constraints and the hold of the white cube that is the gallery space, and moving the art object and the creative activity out of this space. Traditionally, an art object – a painting to be more specific – engaged with the viewer in a visual dialogue. Now, an installation transforms visual dialogue into a multisensory experience, where the viewer who is either participating in or intruding into the space of the installation is engaged with the installation through sound, sight, and physical relationship with the objects. In Kala Bhavana, this discourse happened by way of casual workshops and Nandan Mela activities, rather than as a part of the curriculum. This owed to the tradition of considering art as a community activity rather than as an elitist one reaching out to a discerning few. Also, the annual activity of Jago-Jhompo – a musical play enacted every year during the Kala Bhavana annual art fair ‘Nandan Mela’ – used the technical aspects of projection images, light and shadow, and live performance as improvisations of theatrical activity. Though not done with the intention of performances and installations as done in the West, Jago-Jhompo did experiment with visual tools, spaces and multimedia. 

 Installation for Nandan Mela by Kaumudi Patil

On the occasion of Nandan Mela, outdoor or environmental works are done with great zeal and creativity. Here often the idea is to enliven the campus space with something stunning in terms of the visual idea, scale, and most importantly the material. One such example is the light installations by Kaumudi Patil.Simple material like dry leaves, or bamboo structures convert the space into something unusual, different, unfamiliar; they transform a known space into a new experience, as in the installation by Ashish Ghosh and his friends. The outdoor sculptures affect the visual atmosphere greatly. Last year, the giant interactive puppet created by the students engaged the visitors, young and old alike, in a playful and fun activity. 

 Work for Nandan Mela by Ashish Ghosh and Friends

The newer practices of performance and installation in the West by influential artists were not to directly influence their inclusion in the curriculum at Kala Bhavana. In fact, Kala Bhavana yet does not officially have installation and performance arts in the curriculum. The transfiguration of community based activities – which were so inherent in the fabric and the lifestyle of Santiniketan – into newer versions like “installation art” and “performance art” came through the interventions in the early 1990s by foreign students accepted into the MFA programs.     

 'A Few Hanged Stars and a Crossed Memoir' by Sanchayan Ghosh

In the year 2000, Sanchayan Ghosh created ‘A Few Hanged Stars and a Crossed Memoir’, a site specific installation performance. The performance-installation was created in the space between the two Ramkinkar Baij sculptures, ‘The Santhal Family’ and ‘The Mill Goers’. The performers read out, as a homage, letters written by now famous artists who were unacknowledged in their own times. Thus, Ramkinkar Baij was witness to the readings of the letters of the poets Jibanananda Das and Sukanto, the film maker Ritwik Ghatak, and the artist Van Gogh amongst others; a new space was created out of every day, regular space. The transformation of space provoked and transformed our activities around it. 

To re-assess the outcomes of a living tradition like Briksharopan, on 1^st August 2004 Sanchayan Ghosh and students went out on a bicycle expedition around Santiniketan to locate the trees planted annually since the times of Tagore. A census of the trees was conducted, and placards mentioning ‘the year of birth’ were installed by the trees that could be located. As for the trees that had disappeared, the placards mentioned ‘missing’. The study revealed a newer geometry of a now much fragmented Visva-Bharati. The authorities were notified; where had so many trees gone missing? This was a kind of an excavation project into the history of Visva-Bharati which was originally meant to be an open campus interspersed with indigenous units of locals. But now the space had evolved itself into disjointed parts.        

Kaumudi Patil’s installation for Vasanto-Utsav showed her concern for the nature; she tied sacred threads around the tree, the flowers of which are used to make the natural dye used in Vasanto-Utsav, and gave us the message that we should revere and use natural resources judiciously.

Similarly, Ashish Ghosh’s installation “Creepers Revealed” at Sriniketan, is an example of art that doesn’t interfere with space, but becomes a part of it. Further, it fondly remembers the creepers that are now becoming rare in the surrounding landscape due to rampant human interference. 

 'Creepers Revealed' at Sriniketan by Ashish Ghosh

Activities that elicit the participation of viewers, as in the case of “Evolving Sculpture” by Sajad Hamdani during the year 2002, are a clear example of how art transcends the private domain and becomes public. Rejects from the Sculpture and the Ceramics Departments were shared with the students and viewers, and they were encouraged to develop a structure out of it as per the dictates of their own choice.

 Installation by Josmartin L X

More recent activities include installations like “Melting Stones” by Shaik Azghar Ali that reveal social concerns. Some installations are about more personal concerns and subjective feelings, like Josmartin LX’s work  made during the students’ submission this year.

 'Melting Stones' by Shaik Azghar Ali

Thus we see that though not all installation art practices may be saleable due to their temporality and site-specific relevance, yet they are important interventions and intellectual discourses on society and our relation with our surroundings. Also, if one is more aware of the aesthetics and implications of this kind of art, we can encourage the proliferation of this kind of cultural practice in public and corporate spaces.

Josmartin L X: Faith in the Power of a Line

By Vishal Tondon

Detail of 'Transfiguration'

An encounter with the intuitive and profound drawings of Josmartin L X can be a very revealing experience. The more you spend time with them, the more you realize that the intricate building up of patterns is not for visual effect, but the process of making is in itself the thing. When faced with such work, one becomes increasingly conscious of the fact that one should not confuse product with process. The product – in this case the drawings at hand – is not the art but the result of art. Art is a process. Period.

There lies at the bottom of every drawing an implied pattern of those movements through which it was created. The movements of the cursive and organic lines in Martin’s work replicate the patterns of growth and destruction inherent in nature. Nature builds on the one hand through a premeditated pattern of creative energy called the Flux, and on the other hand through sheer will power that leaves room for serendipity. The process of creating in itself is a compulsion of nature as well as the artist, and very often the process is allowed to take over – caution thrown to the wind. The delightful complexity of Martin’s work lies in the confluence of Flux and serendipity.

To allow Martin’s drawings to work upon you, it would help to try and grasp them more intuitively rather than only through analysis. Also, the lyricism of his delicate drawings compels one to draw an analogy from the appreciation of music; one has to be continuously aware of the character and qualities of the sequence that went into their composition.

Martin has made some very successful oils on canvas in the past. I question him about the progression from painting to drawing. Martin mentions the quality of underlying movement – the special charm of drawing – which cannot properly be carried over from drawing into a finished work of painting. But there is also another aspect to line – its precariousness. Apparently fixed as a static mark, a line always reminds you of the other possible ways in which it could have been made, so the structure of the artwork is always under the threat of collapse. Moreover, a delicately rendered drawing in pencil – as many of Martin’s finished works are – is always under the threat of erasure. Hence the artwork is always suspended precariously on the tightrope between the sheer will power to create and the wanton urge to destroy.

 
For Martin, building an image is a matter of intense concentration. This is because his forms grow organically with a mind of their own, and through the process of mark making itself. Not for him the facility of the original rough laying-out strokes by which the artist first located his image on the surface.

It takes courage on the part of the artist to propose a drawing as a finished work of art. With his drawings, all Martin has at his disposal for asserting the validity of his statements are lines. Martin has immense faith in the power of a line. 

TAKE ON ART: An Evening with Sudarshan Shetty and Aveek Sen

By Vishal Tondon

Last week on the 5^th of August, we saw the Kolkata launch of the TAKE on art magazine; with special mention of the issue number 05. The thematic of this issue was Curation. 

TAKE on art is a welcome entrant on the now vibrant scene of art journals in India. In the last couple of years, a process of decentralization was taking place in the context of tilting the hegemonic hold Mumbai and Delhi had over the workings of the art market – the tilt intended in favor of other centers. In such a scenario, yet another art journal from Delhi would need something more to offer. TAKE on art, with Bhavna Kakar at the helm as editor and publisher, took the cue and bypassed the race to be just another art news magazine from India, and its international aspirations translated into impeccable design and rigorous content. 

The launch of TAKE on art – Curation (Issue 05), guest edited by Vidya Shivadas and Natasha Ginwala, was followed by a presentation on his work by artist Sudarshan Shetty. Sudarshan was also engaged in a very insightful conversation by art critic Aveek Sen. Aveek’s perceptive analysis of Sudarshan’s work also owes to the fact that they have worked together earlier. At the India Art Summit this January, Aveek read a paper to complement the release of ‘The More I Die the Lighter I Get’, a monograph of Sudarshan’s work from 1995-2010. Earlier, in June 2010 at Art Basel, as part of the programs on artists’ talks, Aveek had moderated a very exciting conversation between Dayanita Singh and Sudarshan.

 Artist Talk. Sudarshan Shetty, Dayanita Singh with Aveek Sen

A very interesting issue raised during the Art Basel conversation was that of appropriation; Dayanita had used Sudarshan’s sculpture-installation ‘Love’ for her own photographs which were to be published in her book ‘House of Love’, and now the issue was who owned the intellectual right to these photographs? Sudarshan was supportive of the originality and autonomy of Dayanita’s work. In fact, he acknowledged that Dayanita’s ‘House of Love’ was a continuation of his own work, the installation ‘Love’, which could be said to be work in progress. 

 'LOVE' by Sudarshan Shetty

As for Sudarshan’s and Aveek’s discussion on the event of the launch of TAKE on art in Kolkata last week, the conversation between Aveek and Sudarshan revolved largely around Sudarshan’s two important and particularly poignant works – ‘This Too Shall Pass’ and ‘Love’.