AJILAL, reminiscence ( triptych )
photograph on archival paper | 50 X 71 cm X 3
AJILAL land of it’s own sky ( triptych )
photograph on archival paper | 50 X 71 cm X 3
DEEPAK WANKHADE, untitled
mixed media on paper | 26 X 32 cm
DEEPAK WANKHADE, untitled
mixed media on paper | 26 X 32 cm
JEEVAN.R, birdscape studies
mixed media on paper | 87 X 144 cm
JEEVAN.R, birdscape studies
mixed media on paper | 87 X 144 cm
NISHAD.M.P, false hypothesis
dry pastel on paper | 180 X 120 cm
NISHAD.M.P, untitled
dry pastel on paper | 86 X 66 cm
NISHAD.M.P, untitled
dry pastel on paper | 86 X 66 cm
RAJESH.P.S, occupied space, given by you
dry pastel on paper | 75 X 55 cm
RAJESH.P.S, untitled
dry pastel on paper | 75 X 55 cm
We can feel some kind of positive transformation happening roughly within our collective existence. Even if there were lot of probability in abundance existing to
sabotage it, as happened repeatedly in past, but such a hint itself is revitalizing.
This stimulation is very evident in art panorama and dalit focus. In the art vista
instead of depending absolutely upon art galleries, formation of many groups take place and in dalit issue, so many great studies and struggles take place. That is why we are incessantly partaking in such movements via our shows.
Assigning a show like sacrilege can by far be observed as a bit obstinate
linked with the anti theological/atheistic agenda. However it has no correlation
with such dogmas. But by means of that name ‘sacrilege’ what we propose is the
articulation of our notions allied with the art and politics. Each participant in this
show has their own unambiguous political thoughts which they endeavor to execute in their works. And above all, they all were trying to converse about the bigotry existing in the present societal subsistence. That society occupies the whole lot, in particular the art space and dalit space. Each time when we plan a show, we happen to be blamed on the corner of selection. What the demand is that it should be based on the so-called notions ‘pure’ and ‘good’. It is habitual that each one persuades to determine and ultimately declare the quality of art and divide it into two categories as ‘good’ and ‘bad’. Where from this tendency comes out? And other notion is about the ‘purity’ and ‘impurity’ of art work.
Why the impure and pure? So these two ideas put forward an authority that has the supremacy to put judgments. Consequently such fabricated authoritative statements assert an alien body, which is burried but active in our thought process. As these terminologies are always connected with the conventional social analysis we should be keen about such usage.
This political alertness is very obvious in our intentions and observations. Ajilal’s
comment: “I am talking about my intentions. Not about the result of my art. On this show I took a divergence from my earlier art practices. I believe my works shouldbe more direct. Then there arise the chance of losing its aesthetic ‘something’. But Ibelieve that is a ‘must’ in our time………..” Rajesh observes: “What I try to articulate is the disparity between the huge male concrete formations and wiped out female existence…..the problem of the genuine and usual space occupied by reprehensible.” Nishad: “[……. for the growth of a plant there is no need of natural conditions.] As the religion tries to manipulate the body, capital formation also demands a comatose artificial society. It is a kind of plucking away or adding upon the inappropriate or creating upon inapt space/condition” .Deepak: “…..inner turmoil, sufferings that represents society…..” Jeevan: “presenting cart puller as a mover of history, piloting
history and attempting to carry the whole load above him and place it elsewhere in a safer abode, has a metaphor of moving “dwellings” related to mass migration with the idea of moving landscapes.” Hence our ‘society of works’. Each of this work cannot be considered as self determining one devoid of external relations. It exists simply in relation with others. A work of art is not an entity with an auto telling mechanism. But it should be envisaged as an evocative contemplation unambiguously related with so many other thoughts outside the currently discernible frame.
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