Sunday, January 31, 2010
Three ways of Expressing Love through Letters
How much I miss you! Since you left me yesterday evening, I have this feeling that some thing bad is going to happen. But I am trying to ward off all the negative feelings from my mind. I am sure that one day you will be mine. I am trying my level best to keep all the promises to you. I have applied for that job, which was in the Employment News last week. Also, my type writing higher pass in first class would help me to bag that job. Otherwise also don’t worry my friend in Bombay has assured me a job there. Next Saturday I am appearing for that bank test. I am not sure about it as I am not good at mathematics.
But I cherish this hope that one day I will be able to make you my bride. I will love you forever and ever. You asked me yesterday what would happen if your parents force you to marry someone else. Then I will die. I will die, for sure. Don’t cry. Why don’t we elope one day? I have many plans. Most of them look impractical at this moment. But God will help us. How can God desert people like us? God is all for love. I love you.
Oh my god, I could not sleep yesterday night. I touched your fingers accidently at the bus stop. That feeling is still with me. People where looking at me, when I was just following you and entering the same bus. Some of the guys were passing comments. But I don’t care. Some of those girls in your gang also know about our affair, I think.
I am afraid that yesterday, your mother saw me getting down from the bus and following you till you entered the gate of your house. Did she ask anything after that? Hope nothing has gone wrong at home. I cannot even think that you are put into pain because your love for me. I will kill even your parents, if they torture you in my name. I love you. Look I am crying.
It is almost mid night. My brother is sleeping in the bed. He does not know anything about it. But I am planning to make him a co-conspirator in this affair. If any help is needed that should come from him. Things would be much easier if someone is there in the family itself to negotiate things once we elope.
Don’t panic. I am not planning to elope so soon.
The days and nights look so beautiful as you are there in my life. I want to kiss you right now. Oh sorry sorry sorry. Everything will be after marriage only.
See you tomorrow at four thirty at the bus stop. I will be there.
I love you x 10000000…
First few years of the New Millenum, over emails
How’s things. I forgot to tell you yesterday about the book that I am reading these days. ‘Civilization and Madness’. Great work by Michel Foucault. Ashis Nandy seems to take off from Foucault.
By the way, did you manage to convince your mom? Would she allow you to stay out on 15th?
I am ready. Attended the seminar on Sexuality. Quite boring. Why these people make simple things so complex? Better practice. Right?
Hey, I am not crossing the limits.
What are you reading these days? I hate you carrying that Sydney Sheldon. It’s not cool. Try to read some Lynda Nochlin.
You looked great in that Capri and spaghetti last week. It makes you look very sexy.
By the way, how is your dissertation going? Is your guide still flirting with you? I will kill him. Better you warn him.
Now on SMS
Hi, wanna meet. Barrista @ 2? Ok. X
Posted by JohnyML at 10:21 AM 2 comments:
Wednesday, January 27, 2010
Vicky Roy- One Who Clicked Over WTC Nets
Fictions contain more reality than the reality itself. Reality, if so, in itself is a fiction. Young photography artist, Vicky Roy’s life is the standing evidence to the fiction in reality.
It is interesting to look at Vicky Roy’s life and works on the eve of his solo exhibition at the American Culture Centre, New Delhi (28th January 2010). These photographs are on the World Trade Centre Ground Zero, which is now converted into a huge monument to commemorate the tragedy of 9/11.
In 2009 February, supported by New York and Stuttgart based Maybach Foundation and proposed by the Delhi based Ojas Art and Ramchandar Nath Foundation, Vicky Roy went to the US to work with the noted photographer Joe Woolhead.
Vicky says that the experience in the US, especially at the Ground Zero has changed his life forever. “I met people with different nationalities there. I met people diligently working on the making of the memorial at WTC. I interacted with fellow photographers and professionals. And above all color came back to my photographs,” says Vicky Roy in an interview with Anubhav Nath, Director of Ojas Art, who is also Vicky’s mentor.
His first solo show ever was titled ‘Street Dreams’ and the second one was ‘From Street to Better Life’. And all those photographs were of black and white. Even today, Vicky loves to work in Black and White, thought he is initiated to the colorful zones of life.
What is this obsession with ‘streets’? Vicky’s life is the answer.
Vicky Roy was a run away child. Born to a poor family in West Bengal, Vicky wanted to run away from a disciplinarian father and the torturous classrooms. He did try twice to escape and was caught and brought back to home.
But the call of distant lands was stronger than the family ties. At the age of nine Vicky found his way to the world outside his village and later he realized that he was in Delhi.
For a nine years old run away kid with no knowledge of Hindi, Delhi could not have been a welcoming patch. There are entrepreneurs who always make cheap laborer out of hapless kids. Hence, Vicky too joined the force of child laborers in Delhi; first as a way side eatery errand boy, then as a rag picker.
After shuttling between rescue centers and streets, Vicky finally reached the hands of Sanjay Srivastava of Salaam Balak Trust, New Delhi. And there he had his tryst with camera.
“I loved handling camera as it could depict the life around me. I was drawn to it as if I was born to handle a camera. I was lucky to have trained under the British photographer, Dixie Benjamin. He came to do a workshop with the SBT kids,” remembers Vicky.
Vicky has always been truthful to his life. His early works show how he intensely feels about the life of street kids. His works always spread the rays of hope; the rays piercing into darkness.
The WTC works herald the arrival of Vicky as a matured photographer. While keeping an intimate feel for the things around, in these works Vicky tries to keep a sort of objectivity, which is necessary for both an artist photographer and a photo journalist.
Surprisingly, Vicky is not overawed by the sights and sounds of the American life. He keeps his cool at the shutter and this dispassionate approach does not leave his works as just cold documents. They are filled with life and the trained eyes could always see a sort of question raised in each frame. Vicky probes into the history of WTC, the people involved in the making of the monument and above all these works highlight a great absence; the absence of those people who were wiped out from the face of the earth on 9/11.
Vicky Roy, once a boy with no linguistic skills, has now developed communication skills. He is in Face Book and other networking sites. He maintains the enthusiasm of a 23 year old youth in every aspects of life but he has not forgotten the ways through which he had traveled at a very tender age. Even today, he is connected to the activities of the Salaam Balak Trust.
To know more about him visit www.vickyroyphotography.com
And my article in the following link file:///C:/Documents%20and%20Settings/sa/My%20Documents/My%20Pictures/Vicky%20Roy/vicky.htm
Posted by JohnyML at 8:14 AM No comments:
Friday, January 22, 2010
Welcome to the Kutch Camp Works (FALCAT 2)
Kutch Camp was a super success. Why, you may ask.
We spent six days and six nights in camping and working, and another two days in sight seeing.
Twenty four works were produced in the camp. How, you may ask.
When the artists are in their studios they are relaxed, especially when they are not disturbed by deadlines. They may take several days to finish a five by four canvas.
Here too they were super relaxed. Where, you may ask.
It has always been my pleasure to work with younger artists. Tracing and registering their visibility and success is another thing of happiness.
FALCAT 2, a series of camps conceptualized by myself (the first and second of the series are done for Art Home, Baroda) was meant for the young artists. To pep them up I had invited some already established youngsters too.
Pramod Kumar, Pratap Modi, T.P.Premjee, Sujith KS, Pramesh Surti, Alok Bal, Amarnath Sharma, Phaneendranath Chaturvedi, Dilip Chobisa, Hindol Brahmabhatt, Sukesan Kanka, Mathai Tom, Atmanand Chauhan, Shiv Varma, Sovan Kumar, Apurba Nandi, Malavika Rajnarayan, Jignasa Ojha and Puja Puri were the camp members.
Camp director: Somu Desai. Coordination: Shweta, Assistants: Ketan Bhai and Gopal.
Now back to the questions: Why, How, Where.
Shaam-e-Sarhad, a village resort at the Hodka Village, built and run by the villagers themselves was the camping centre.
Sparse mobile connectivity. No internet facilities. No television. No Alcohol. No non-vegetarian food.
Before the beginning of the camp some artists told me that they wouldn’t survive this camp.
I told them to give it a try.
Abundantly available things were: deep silence, starry sky, pleasantly cold nights, beautifully warm days, tent accommodation that reminds one of Arabian Nights, Bungas for a five star village life.
Plus- typical Katiawadi food. Smiling stewards in their traditional shervanis, an LCD projector for audio-visual presentations and discussions, bonfire and folk music and dance.
Artists were charged up with this unique experience.
And following are the works finished in the camp:
Born to Tamil parents, Malavika Rajnarayan was brought up in Bangalore. She took a post graduation in painting from Baroda and now has a studio in the same city. From autobiographical references to the biographies of individual women- Malavika’s paintings travel between these referential points. Previously, her works were more about herself. Now, she says that she has learnt to emblematize the women’s issues using iconic women imageries. In Kutch, Malavika makes a very sophisticated young woman sitting at threshold bench with her legs crossing the balustrade. Out there, the barren landscape of Kutch is exquisitely painted. And she carries the history in the form of an architectural jumble inscribed on the bench. It is a moment of contemplation, of revealing, of coming out, of crossing borders, Malavika says.
Jignasha Ojha has a post graduation in painting from the Fine Arts Faculty, MSU Baroda. She has a friendly demeanor. Jignasha’s joviality brings smiles to every one. She has done a residency in Paris, which she says, has helped her to formulate her ideas and materials. She likes to work in soft canvases. In Kutch she works on a five by four and creates a decorated surface with floral motifs. She hand paints each floral motifs, which eventually looks as if done by a block. The floral surface turns out to be the inside wall of a bunga and through a window we see other bungas with beach benches. It is an ironic juxtaposition as Kutch is a place, which does not have a sea shore. Jignasha suggests the contradiction between the touristic approach and the real life of the people there.
Apurba Nandi now belongs to Baroda. He has a post graduation in Sculpture from the Fine Arts Faculty, MSU Baroda. His sculptures are about the human predicament. He uses the images of the simple machines and converts them into sculptural forms. Drawing is his other forte. His drawings are intricately made with repetitive simple imageries. ‘Birds’ is his pet theme. In Kutch, as a part of our bird watching expedition, Apurba observed the flights of cranes and flamingoes and their instinctual aerodynamics. He captures the same in one of the canvases using acrylic and dry pastel. In the second work, Apurba once again uses the birds imagery against the image of a high fence in order to connote the freedom of birds and also the limitation of human beings. Birds are not limited by the geo-political boundaries, Apurba seems to say.
Shiv Verma comes from Bastar. He has a post graduation in Sculpture from Fine Arts Faculty, MSU Baroda. Already an acknowledged artist, Shiv carries the simplicity of a village boy and the sophistication of master artist, which could ‘control’ the demands of the gallerists. Shiv is a recipient of the IHC-Art India Emerging Artists Awards for 2007. When Shiv left Bastar he had taken a vow. He would never become a migrant craftsman in a big city. He did not. However, his becomes the linkages between a traditional technique (Dogra casting) and the contemporary sculpture making in metal. Shiv makes drawings and paintings too. In Kutch, which is agriculturally zero thanks to the saline terrain, Shiv had already decided to make a painting with edible grains. The image is a laboratory, which is all made with the grains on aeraldite fixer. Kutch has chemical companies working, which also contributes to the depletion of fertile soil. Shiv raises a critique on this through his work.
Mathai Tom did his national diploma from the Thripponithura Fine Arts College, Kerala. Calm and composed, could be the phrase to qualify Mathai’s presence. A soft-spoken Mathai has been working on the issue of soil erosion and depletion of water bodies in and around his village in Kerala. From a micro level he connects to the macro politics of environmental depletion. A pure painter as he is, Mathai works like a muralist, detailing each and every point of the pictorial surface. The cool greens and blues dominate his palate. The fierce red that we see in her works shows the scars of the earth. Mathai resonates with the religious belief of his village and the mundane incidents of the place assume mythological status in his works. In Kutch, Mathai identified with the landscape and he found the border people as the cross carrying human beings. He wants to fill his works with hope.
M.Sovan Kumar is from Orissa. He has his degrees in Sculpture from Orissa, Delhi and Japan. This widely traveled artist works in different mediums including painting, sculpture and ceramics. Sovan is famous for his ‘truck paintings’. He makes the images of trucks and incorporates the elements of contemporary culture and industry. Here in Kutch, he made a horizontal painting with a truck carrying a whole industrial unit on it. It travels through a slippery land and in the sky you find the migratory birds that come to Kutch from the colder terrains during the winter. Trucks are the lifeline of cities and it connotes a sort of permanent migration, Sovan Kumar says. In his second work he created a salt land with suggestive barbed wires in order to emphasize the border situation.
Sukesan Kanka holds a degree in painting from Trissur Fine Arts College. He is a proficient sculptor, goldsmith and a painter. Though he has an amazing capacity in drawing, his paintings are done without drawings. He builds up the surface the way he uses clay to build the form of a sculpture. Charged with his readings in Art History and Criticism, Sukesan is a powerhouse. He brought an already finished work in the camp. And in Kutch he worked on a five by four canvas. His images are surrealistic in nature. However, this particular work in Kutch carries the images that he conjured up in the barren landscape. It is difficult to stop Sukesan from working. At some juncture, I even threatened him of handcuffing if he did not take rest. Sukesan became a darling of the camp members in no time and it was a pleasure to see him working.
Rambali Chauhan hails from Delhi. He did his post graduation in Sculpture from Delh College of Art, New Delhi. During his formative years, Rambali was interested in carving stones and making bronze sculptures. The training that he received in the traditional sculpture making has helped him to understand the underlying structures thoroughly, which later helped him to do public sculptures and interactive works in public. The recent works of Rambali Chauhan explore the hidden structures of human beings and they society that they live in. They often take the material form of improvised skeletons. In Kutch, Rambali did two canvases both having the images of the improvised skeletons. The images are seen against the barren salt fields, which almost represent the predicament of the people in this region.
Sujith KS has a post-graduation in painting from Trivandrum Fine Arts College. However, he pursues a post graduation in Art History from Kalabhavana, Santiniketan. He had already brought a small acrylic on canvas work along with him. In the camp he started working on huge red cloud descending on a lamb, which is pulled towards sacrificial altar suggested by an inverted church hanging from the cloud. This work inspired by the visit in Kutch and surroundings implies how the human beings become the proverbial sacrificial lambs at the hands of the authorities. There is a surreal atmosphere pervading in Sujith’s works.
Phaneendranath Chaturvedi is a post graduate in painting from the Lucknow Fine Arts College. Currently based in Delhi, Phaneendranath comes from a background of a rich literature. He highlights the predicament of human beings in all his works. Strongly graphical in form, Phaneendranath transforms contemporary human images, like the models, actors, macho men etc, into robotic forms, which at once attract and repels the viewer. Here in the camp, Phaneedranath created two works; one of a human face, which is between decaying and reconstruction. The other one is a comment on the border issues, which leave the ordinary citizens of two nations look like scarecrows with price tags.
T.P.Premjee is a graduate from the Trissur Fine Arts College in Kerala. Premjee’s solo exhibition at Kashi in 2008 was noticed by many. In Kashi solo he had used the images familiar to a Kerala landscapes, especially the host of ducks in bronze. He is a trained sculptor though he invests his energies in doing paintings also. In the camp, he started building up a surface using several patches of acrylic colors on a five by four canvas. At one stage it almost looked like an abstract painting. But soon it evolved into a set of farm pigs jam packed within the frame. The workmanship and skill of Premjee is excellent. Why pigs? The question came during his slide presentation. “I want to detach from the images that I am used to already,” he replied.
Amarnath Sharma has a post graduation in painting from the Fine Arts Faculty, MSU Baroda. A chirpy personality, he keeps everyone around him in good humor. He has his own takes on everything including marriage, market and art. Amarnath works fast on his canvases. He creates grids in his canvases and using a super realist style he juxtaposes the images of human beings and machineries. Here, he brings in a pair of eyes, an emblematic of the spy work at the national border areas and counterbalances it with a jumble of machine part. In the second work, Amarnath depicts a nuclear structure, perhaps a genome structure, which is in the process of collapse. He shows the fragility of human constructions using the image of a white wrist watch.
Hailing from Jharkhand, Atmanand Chauhan is a post graduate in painting from the Fine Arts Faculty, MSU Baroda. His personality is akin to that of a black rapper. His gait and hand movements show a sort of easiness. Early mornings, he makes the sounds of bird chirping. Then he plays all the Bollywood numbers in his laptop- from devotional to the hip gyrating, in that order. We call his tent in Kutch as the ‘theatre’. Atmanand builds his picture layer by layer. Hand gloves are his pet image. Each time, the work looks different. He gives continues color wash to the canvas till the images look like reliefs. Atmanand uses a simple photo transfer technique to incorporate elements from the Hodka village on to the second canvas, which is a minimal work in yellow with lot of depth and visual effect.
Pratap Modi did his masters in Print Making in Fine Arts Faculty, MSU, Baroda. Pratap has stylish looks and he knows it. In his goggles he looks like a star. In his studio he makes huge woodcut prints which are presented mostly as installations. In the camp he did a self portrait in the traditional shervani dress of the Katiawadis. The self-image is created out of stamping a seal carefully on the paper. He masks the edges to give a balanced feel to the image. In his second image he uses the same seal to create the portrait of a Katiawadi woman. The surface is created by pigments and graphite power.
Pramesh Surti is a young diploma holder in painting from the BA Mehta Fine Arts College in Amalsad. Pramesh’s works constantly deal with the relationship between the animals and the waste materials produced by human beings. Plastic bags and cows are his predominant images, whether it be paintings or digital works. In Kutch camp, Pramesh incorporates three landscapes into one, the mythical greenery on the other bank, the salt fields in the middle ground and the black hills in the foregrounds. The peak of the hill has a plastic bag flying as if it were a flag. The national identities are suggestively brought in as the whole painting looks like a ‘national’ flag. Using palate knife, Pramesh builds his pictorial surface.
Pramod Kumar did his education at the Fine Arts Faculty, MS University, Baroda. He hides behind his large sunglasses. But amongst friends he is a little imp playing pranks with them. His works are minimal in nature but they have the finish of photorealistic works. In Kutch he chose to paint the white desert in a linguistic code. He wrote RUN on the canvas and then he created the waves of sand around it using a rainbow of colors. If you have visited the white desert of Kutch and then the Kala Dungri, you would know what Pramod Kumar’s work try to capture.
Somu Desai holds a degree in painting from the BA Mehta College, Amalsad. Known as problem solver with art materials, Somu has a many qualities. He makes public sculptures, murals and paintings. Also he has involved in digital and video art. In Kutch, Somu is not in artist’s role. He is the camp director. But he decides to convert the bathroom’s mud wall inside one of the tents into a mural. Somu had already noticed crows in Kutch. And he had already painted crows in several of his works. Looking at the military post, Somu says, Crows are the same everywhere. He implies the border situation. The forked pillar like structures on which the crows are perched constitute the central architectural support to the traditional architecture, which is called Bunga in Kutch. This mural will be demolished as the tents are taken down during the summer months. Till then, the other visitors who stay in this tent could enjoy their bathroom moments with this mural.
(Dilip Chobisa, Alok Bal and Hindol Brahmabhatt had to leave the camp early thanks to their prior commitments elsewhere. They would be sending in their works soon)
Posted by JohnyML at 12:06 PM 3 comments:
Tuesday, January 19, 2010
When a new book hits the stands and favorable reviews flood in the news space, it is a common practice that the publishers of the successful author get into action by re-launching the former books by the same author.
‘2 States; The Story of My Marriage’ by Chetan Bhagat’s latest was a huge hit. Along with ‘2 States’ Chetan’s debut novel, ‘Five Pont Someone’ went into a new edition.
This time, the jacket of Five Point Someone screamed ‘Soon to be a Major Movie’.
‘3 Idiots’, the biggest grosser of 2009 was that movie.
Inspired by cultural and creative cross references between the movie and the book, people started buying the copies. And those who had already read it, attempted a re-reading.
Four names, Chetan Bhagat, Aamir Khan, Raju Hirani and Vidhu Vinod Chopra respectively raised the expectation levels high.
As we all know by now, when the film hit the screens all over India, Chetan Bhagat’s name was not mentioned anywhere in the credits.
‘Hello’, an adaptation of Bhagat’s ‘A Night at Call Centre’ was a dud at the box office. So nobody bothered whether the author’s name was mentioned in the credit lines or not. Even Bhagat himself wouldn’t have moved had it not been mentioned.
But here we have a successful movie with a successful and charismatic team working in it. The absence was too loud to ignore.
Controversy followed. Usual mudslinging to profit was performed in the media. We took sides to satisfy our moral, ethical and aesthetical preferences.
Perhaps, next time Chetan Bhagat would be careful while transferring copyrights of his works to a film maker.
For an Indian author ten lakhs rupees is not a small amount. That was the amount Chetan Bhagat received for handing over the copyright of the novel to the film makers.
But the hurt of discredit is more than Rs.10 Lakhs.
Should Bhagat be disappointed even after the open and hidden truce with the film makers?
No, that is my answer. Reason is simple.
The audience that watched ‘3 Idiots’ is not just a dumb audience. A considerable portion of it is comprised by people who know the merits of all the four major names involved in this movie.
Those who watch a Vidhu Vinod Chopra movie would definitely watch an Aamir Khan movie also. An Aamir Khan movie buff would definitely have an interest in Chetan Bhagat. And a Chetan Bhagat lover/hater cannot discard a Raju Hirani movie as the philosophy of the Munnabhai maker is not so different from that of Bhagat.
All four are culturally enlightened populists and they are popular for that reason.
However, has the controversy done anything better for the movie makers? No. Because Aamir Khan movies stand mostly on Aamir Khan’s popularity.
But Chetan Bhagat has gained a bit from this controversy. He has earned a new set of readers.
For example consider this incident in a Reliance outlet at Faridabad, Haryana.
In this Reliance outlet you have a book section. Each successful book has a Hindi translation here.
A woman in her late twenties comes into the section with her husband. She is obviously one of those people who would enjoy a television show than reading a book.
“Where is that 3 Idiots book?’ she asks the attendant.
She is just a sample. There must be thousands like her who are initiated to the literature of Bhagat through the controversy around 3 Idiots.
Chetan got a new audience. But what happened to his story?
It is vandalized beyond recognition. Ranchod Chanchad, the character who is a super achiever and enacted by Aamir Khan is just another five point someone like Raju and Farhan in the novel where he is called ‘Ryan’.
The Professor (Cherian) in the novel is a serious teacher than a lisping comic brute in the movie.
In short, the reflections on reality in a fiction are further fictionalized to fit into the Bollywood formula by the film makers.
Result, as Sagarika Ghose of CNN-IBN observed in Hindustan Times, is that 3 Idiots celebrates the idea of hating higher education by the Indian populace.
The movie makers might not have expected this reading.
Chetan Bhagat was promoting original thinking even by the under achievers. The film makers misread it as a forceful under achievement.
The novel celebrated the sexual liberation of a generation. But the movie put that thinking back to the traditional one- no pre-marital sex allowed here type.
Chetan Bhagat in his novel stripped off the hypocrisies of our educational and social systems. The movie makers sewed it back.
Whatever be the case, the film is thoroughly enjoyable because it is an unconscious re-construction of what is already is deconstructed.
And we like anything re-constructed with a happy ending- including a body massage.
There are four idiots behind this success. Aamir Khan, Vidhu Vinod Chopra, Raju Hirani and of course, Chetan Bhagat.
Rest of us….as Pavan Varma said almost a decade back, the great Indian Middle Class.
Posted by JohnyML at 7:45 AM 3 comments:
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