This is a tentative program, last miniute changes will be updated here
Thursday, December 24, 2009
This is a tentative program, last miniute changes will be updated here
Monday, December 21, 2009
Thursday, December 17, 2009
"The Action of Nowhere," builds on the idea he has been constantly exploring - the unfolding and spreading of new forms of urbanism
Acrylic, fabric and glue on canvas, 228 x 183 cm / 90 x 72 in
'An Avatar - II', 2009
Acrylic, fabric and glue on canvas with plywood, 147 x 269 cm / 58 x 106 in
'The Action of Nowhere II', 2009
Acrylic, fabric, glue on canvas with plywood, 137 x 167 cm / 54 x 66 in
'Magic, in its perhaps most primordial sense, is the experience of existing in a world made up of multiple intelligences, the intuition that every form one perceives - from the swallow swooping overhead to the fly on a blade of grass and indeed, the blade of grass itself - is an experiencing form, an entity with its own predilections and sensations, albeit sensations that are very different from our own.' David Abram, from The Ecology of Magic: A Personal Introduction to the Inquiry.
Jagannath Panda is as much a marker of an evolving urbanscape as he is a participant in it. The son of a temple priest in Orissa, Jagannath has since traveled globally, making Delhi his home for several years. These journeys have served as the substrate for his work, the matter which nourishes him and upon which his work grows. His newest series, "The Action of Nowhere," builds on the idea he has been constantly exploring - the unfolding and spreading of new forms of urbanism. As always, he continues to remain a multi-sieved filter through which everyday life must pass before it finds a place in his narrative. These new works bear the stamp of his relatively recent shift to the splashy, overbuilt, Gurgaon in the South of Delhi, from his previous East Delhi home.
The new Gurgaon bursts open most decisively in the theatrical trio of crashing cars: The Lost Site, Failure of the Faith and Fatal Sublime. Already perceived as the site of new money, struggling to cocoon itself with the essentials of an established city, the city was the flashy home to the earliest malls (then a popular domestic tourism spot) and tall, glass office building clusters, ubiquitously called parks. It continues to be a node for global capital flows and an intense building boom. Gurgaon showcases several new Indian aspirations. In these three works, Jagannath creates deadly car accidents on canvas, where the metal of the automobiles are crumpled like sheets of paper, irretrievably destroyed. The textile of the ripped seat cover pours out of the car in Fatal Sublime. It is riveting in its directness, bringing out our inner voyeur. In a matter of seconds, we are transformed into the very people we've scoffed at previously, those who stand on roads, gaping at accidents in fascinated horror. Self-comforting belligerence is only one aspect of Jagannath's preoccupation. Look carefully at the car works, and there are trees and branches being smashed, their death forced upon them by an out-of-control automobile. There is a strong likeness to the demolition of informal, thatched shanty houses by fierce bulldozers, an everyday assault in the developing world. The works become a metaphor for these goings-on, the seamy underside of fashioning the brave new city.
It would be unwise to ignore the seeping in of new forms of popular culture into Jagannath's work. In An Avatar, a lone hyena looks over a drab apartment complex, the only vegetation a shrub on a single balcony. A part of his coat has melted onto a ledge where he precipitously stands, decorating it eerily. The hyena's forehead is prettily adorned with unapologetic bling, glittery beads and crystal jewels, as a local tailor will call them. It is as if the hyena were a creature from the popular, melodramatic television soaps, where every character seems outfitted in a jewelry store and whose loud, audacious fashion occasionally slips off the screen into real wardrobes. In another work, In The Dark, a bat hangs upside down, its outstretched wings webbed with black, velvety lace. Lace was once considered a luxury. Now, it's an upbeat trend you see in dozens of stores, as the fabric of hundreds of traditional salwarkameez across Indian cities.
Jagannath does not leave it at that, he uproots even widely accepted pop-green ideas, discarding them with vehement panache, as in Home Grown III. A plastic pot births a large black succulent that morphs into a toxic scorpion. Its base is abloom with artificial flowers, of the kind lovingly preserved in living rooms across the country. This homage to nature carries no favour with Jagannath, whose scorpion embodies the toxic plastics of false vegetation and speaks of contaminating rather than greening. Such nods and frowns to popular culture are partly autobiographical. They calibrate Jagannath's own dislocation and subsequent assimilation into this new world that oscillates between reality and make-believe effortlessly everyday.
Jagannath simultaneously creates a parallel fantasy, one that he plays out with animals as protagonists. Many of his works feature an animal bearing witness, as it were, to these urban shifts and it's own slow demise. There is a sense of tension between these binary opposites - the animal that requires and seeks territory and the absence of such territory, physically and metaphorically, in the new urbanity.
The absence of a homeland, an essential ecology for many of these creatures, is replayed continuously in Jagannath's work. Perhaps that is influenced by his own growing years in Orissa, where not only was urbanization less destructive but also his own life was much more closely interlinked with the everyday environment. Birds and animals from his previous works (gray and black crows, tiny sparrows and deer) testify to his own closeness to urban wildlife. In The Being II Jagannath creates a life size rhino, something that he began working on after a trip to Khaziranga National Park in Eastern India, home to the last few endangered Asian rhinos. The rhino has placed his foot on a fragile suitcase, it's contents spilling out like innards. The beast is cloaked in subtle brocade, an element Jagannath has used dexterously in several previous works, its head tilted in gentle confusion. Placed in a gallery, it initially gives the impression of having invaded a private space, like a cumbersome, unpleasant intruder forcing himself into a manicured home. Within seconds, this thought is struck down by another familiar one - the loss of habitat for the creature, its own home a public, common space open to development. This violation of the inviolate home, public or private, settles into the mind as fuzzy discomfort, something Jagannath leaves the viewer to deal with in several works. Several people, Jagannath wryly notes, have frequently mistaken the rhino for a hippo. This inaccurate reference, he says, disturbs him enough to constantly invent the energy to correct people himself.
In the tragic The Migrant (Anywhere, Anytime), a muscular deer stares out at the viewer, a sunny yellow car whizzing by behind it. The car is reduced to a mere flash but the deer meets our gaze. It is almost a moment of truth, the deer has survived becoming road kill but this is only a temporary victory. He is standing on un-built ground but it is already asphalted. In his horns rests a falcon with its nest, seeking refuge in the closest approximation to a tree it can find. Like an unbalanced equation, as one world begins its expansion another is on the verge of collapse. The absence of these co-inhabitants has never been noticed except, ironically, when Jagannath records their poignant existence.
Marking their presence in a ghostly kind of way is precisely what Jagannath hopes to accomplish with such dramatic animal portraits. His favourite act, that of decorating animals with skin-tight brocade and ornamentation, mimics an ancient ritual of dressing up the dead, before their burial, to celebrate their lives and optimize their chances of a smooth after-life. The ancient Egyptians decorated their Pharaohs in their best finery before placing them inside the pyramids. In parts of India there is a tradition of anointing the dead ritually as well.
By painstakingly decorating these absent creatures, shielding them with a brocade skin over their own, Jagannath is re-enacting a powerful ritualistic farewell on his own terms, shearing it of a religious casing and pushing viewers to scavenge and retrieve the idea from their own context. The act of repeatedly using fabrics in his work becomes a performance, something Jagannath undertakes with gravity and specificity every time. It is then not unlike the ritualistic tasks of his own fore-bearers in Orissa's temples. Every time Jagannath creates such a work, he maps his own personal history.
Perhaps by intuition, Jagannath has stumbled into the heated global discourse of invisible citizens, now vapidly discussed in more and more cities of the world. This is the tragedy of expanding cities, cannibalizing citizens who cannot ensure their own inclusion and presence. But he is no activist and his oeuvre, through its adhesion of splendour, defies being saddled with a single narrative. Instead, Jagannath tells it as he experiences and imagines it, leaving his works open-ended. This is not to mark him out as apolitical, if anything he is sharply conscious of the reading into his works. His action is quite simply to create art works. Their display and circulation interrogates the normalcy of several urban phenomena, from dislocation and displacement to annihilation. The climate of uncertainty in his work allows him to be the endless conjurer, as indeed he is when he uses unlikely materials to wittily flesh out the experience of a recent migrant to a city. His totemic sculptures serve this purpose well, an assemblage of items, predicted to be incompatible yet holding up collectively. They are at once familiar and confusing. Challenging audiences to mentally reassemble disparate materials and objects is vital to such work, because without such visual obstacles they may be unable to see with new eyes. These rigorous mental processes arm Jagannath with the tools he requires to resuscitate the little traditions from the dominating presence of the great traditions.
Bharati Chaturvedi, 2009
Jagannath Panda was born in Bhubaneswar, Orissa in 1970. He received a BFA from the BK College of Art & Crafts in Bhubaneswar (1991) and then an MFA at the MS University in Baroda (1994), as well as an MA degree from the Royal College of Art in London (2002). His paintings and sculptures were featured in "Chalo! India," a group exhibition of new art from India organized by the Mori Art Museum in Tokyo (Nov 2008-March 2009) which traveled to the National Museum of Contemporary Art in Seoul, Korea (April-June, 2009) and the Essl Museum in Vienna, Austria (Sept-Dec 2009).
This essay appears in a catalogue published by Alexia Goethe Gallery on the occasion of the exhibition.
Jagannath Panda: The Action of Nowhere
27 Nov 2009 - 15 Jan 2010
Alexia Goethe Gallery
Bharati Chaturvedi is the founder and Director of the Chintan Environmental Research and Action Group, an organization that focuses on issues of urban poverty, consumption, and sustainable livelihoods for those working in the informal sector in India. She also writes frequently for the media on issues related to the environment and social justice, including a weekly column, Earthwatch in the Hindustan Times. In addition, to complement her deep interest in the art, she contributes fortnightly to a column in the Business Standard as an art critic.
Wednesday, December 16, 2009
Call for art works, participating at alumni art show on the eve of silver jubilee celebration of B.K.Art College
SUB- participating for alumni show for silver jubilee
recent works by
Thursday 17th December 2009
6 - 8 pm
On view uptil
Friday 8th January 2010
11 am - 6 pm (closed Sundays)
Saturday, December 5, 2009
Friday, November 27, 2009
Agenda for discussion on 27.11.2009 at 11.00 A.M. in Office Govt. Dept. of Tourism and Culture ( Culture), Odisha, Bhubaneswar
A Tentative programme for conduct of the Silver Jubilee of
B.K.College of Art and Crafts, Bhubaneswar. 2009-2010
1.The Silver Jubilee will be celebrated for two days i.e. on 22.01.2010 and 23.1.2010.
2.Date of inauguration of the Silver Jubilee - by the Hon’ble Chief Minister, Odisha on 22.1.2010.
3.Release of Exhibition Catalogue by the Hon’ble Chief Minister on 22.1.2010.
4.Valedictory of the Celebration - His Excellence, Governor of Odisha will be the Chief Guest on 23.1.2010.
5. Organization of Multimedia workshop by the students of different leading Art Colleges of the Country (50 number of students will participate).
6. Two veteran Artists of India will be invited for the above function. Likely:
a.Prof. Golam Sekh, b.Prof. Jyoti Bhatt, C.Prof. Kanchan Chakraberti d.Prof.Latika Katt. Sri Ashok Bajepayee, Chairman,Central Lalit Kala Akademi,New Delhi.
7. A monumental Sculpture will be prepared by a panel of artists headed by Prof.Adwita Pr.Gadnayak and will be inaugurated by the Hon’ble Chief Minister of Odisha.
8.A draft letter to be sent to the distinguish persons who have contribution for growth of the Institution.
9.A memento will be given to all Alumini members on the occasion of Silver Jubilee.
10.Teachers of B.K.College of Art and Crafts will prepare a mural type of painting on long canvas which will be inaugurated by the Chief Minister of Odisha.
11.A film will be prepared on the successful march of 25 years of B.K.College of Art and Crafts by Alumini BKCAC will be released by the Chief Minister of Odisha.
Friday, November 13, 2009
Paresh Choudhury is an Alumni of B. K. COLLEGE OF ART AND CRAFTS and He is presently teaching at MIT Institute of Design as Professor in Visual Communication.
Thursday, November 12, 2009
The Alexia Goethe Gallery, in collaboration with Gallery Nature Morte,
request the pleasure of your company on 26 November 2009 from 6 - 8 pm for the private view of Jagannath Panda's solo exhibition,
The Action of Nowhere.
We sincerely hope you can join us.Alexia Goethe Gallery
For more information on the exhibition,
please click here
Friday, September 18, 2009
Tuesday, September 15, 2009
Kanta Kishore has picked the popular slum with a different perspective that essentially deals with the core of the subject
KANTAKISHORE MOHARANA represented by Ashok Art Gallery
Slums in Neighbourhood
Artists are exploring new media and techniques to convince the viewer in the present day. The range of subjects that the artist deals with today is intriguing and relevant. Indian art seems to have transformed from modesty to market and the journey has been interesting too. The turning points of art here depend heavily on the attitude of the artists and what we have noticed is the increase in the intellectual input with passing time. This has carried us forward from the agreement of the narratives in mythology and epics to negotiating society to human awareness of several factors. Our surrounding and social concerns have always motivated us to a new high. Kanta Kishore is no exception.
Kanta Kishore has picked the popular slum with a different perspective that essentially deals with the core of the subject. The effort by the dwellers to construct the beautiful and magnificent in the city remains in the most neglected part of the earth. Their struggle for existence depend on adversities of life and in the process, they sometimes smile up to their success, which is rare, and rest of the times, lament over their survival. In all these conditions, a pair of sleepers perhaps allows them to retain the honour of human while addressing the rough patches leading to life. The chaos of arrangement also depicts the lifestyle of people inhabit. However high or low they might go individually but collectively they remain intact to the nails that bind them to the ground. The insiders story of constructing a world imagined for the other rightly develop the concept of living.
The composition has deliberately caught our concern for the slum and its dwellers. The symbolic is apparent, expressive and transformed; it suggests the simplest of material in high coordination with installation art. The painting complements to the installation by making it look obvious and illustrative. Kanta Kishore has seemingly taken a defensive position in portraying the subject though several aggressive pointers are available to us. The approach to the subject is worth admiration. The awareness to uplift the downtrodden needs more application both politically and socially. The change is coming at a slow pace and it would appear significantly in future. The makeover through the artistic expression is to the concern is remarkable.
Sculpture Review by Dr. Pradosh Kumar Mishra(Art Historian)
Watch out for this growing talent in Art Expo India: Kantakishore Moharana
Any work of art for that matter has certain ideas to deliver, but this seems to have engaged the viewer with more than one implication. Initially aimed at presenting the environmental issue, that is one of the phenomena, quite clearly depicted by many artists of the present day. It is uniformly received by the politicians, sociologists, scientists and artists as well. ‘The habitation in nature’ an exhibition showing Pradosh Swain’s recent works at Ashok Art Gallery.
Concrete Demon illustrates a typical and unusual scene, amazing and interesting too. The manuscript unfolds to release Lord Rama with his attributes, bow and arrow, to kill the concrete mixture that is commonly seen at the construction sites. It has several layers of implication: dwelling between tradition and modern, oppression and liberty, nature and environmental hazard, mobility and stillness and so on. It presents a feeling of awareness and concern.
Rama, the maryada purusha, as he is commonly known and we believe had a genuine understanding of nature as he lived his significant part of life within nature, interacting with various aspects and adopting several laws of natural world. He is seen liberating the self to take on the direct fight once again with the demonic form (concrete mixture = Ravana) to bring back peace to the mankind unaware of the fact that in this corrupt world, what wins is not the environment but the brokers of nature, while the sufferer is entire world.
In the present day, Rama has become the source of inspiration to many; politically, environmentally, culturally, as people have conveniently adopted him. Now he has been reduced to a manuscript as an abode, cultivating the nature within the parameters of palm leaf. A simple narration that recreates the Rama in Odissi Pata painting form and symbolically covering him with the foliage, to relate nature in him; palm leaf as a major and popular medium in Orissan traditional art is placed intelligently to show the manuscript and a horrifying background depicting the uncertainty of human life. The composition is poised with intellectual input and social awareness.
The world is changing and also the attitude of man. Travel is part of human being’s life. With every passing day more and more information regarding the destinations are reaching us motivating us to explore the new area of substance. Reasons of such moves are many, ranging form family holidays to corporate leisure. Many natural sites are revisited and new sites introduced to us. We move from place to place encroaching the nature’s domain and without even being careful. Often we ignorantly spoil the nature and sometimes become more adventurous in misusing the resources. This has resulted in the natural devastation and we can feel the heat of global warming all through the globe. We have started paying the price for someone else’s fault. Towards Wind seems to present before us the nature that is supposed to nurture us, our lives and motivate our minds, inspire us to face new challenges, has now started throwing new challenges to us pointing its protection and expecting a little compassion and love for itself. We have reached a pitiable condition, where no road leads ahead.
A time would arrive when we would need a fan painted with nature (allegorical) in a hill top (station) to satisfy us from heat. The extent, as the artist has pointed, might go up to reaching near to the fan blades to occupy the most of air the fan delivers. The message is clear and loud, save it (nature) to be a part of it or stay alone to die hard.
The cities are now developing fast and at a disagreeable pace. The requirement of man is getting wider day by day. To achieve these desires one makes compromises with the nature, its habitants and the balance. We have significantly converted the animal’s bay purposefully to suit our ideals. So every other day we hear news about tiger creeping in to village and start shouting about the facing new danger. Rationally we have threatened their habitation in nature. The spread of the cities never care about the essential ‘other’. Fisher in Metro is just about that. In the image showing the kingfisher (namesake) sitting on a basket ball net (replacing the tree branches) and concentrating on a swimming pool (replacing the village pond), which is temporarily set on a spatula (showing its position), while a young woman is diving into the pool. This visual narrates the reality; of how the cities are facing structural conversion everyday, the danger of scarcity facing us today and its horrifying future and similar struggle.
Pradosh Swain has attempted global issues in simplest and readable visual term. What interests me is his concern about nature and its protection in order to avoid the Global Warming. ‘The message is not new’, as he explains, ‘and it is not educating too. I just paint to define my understanding of the subject’. He adds, ‘much has been spoken and delivered visually by the NGOs and similar volunteer organisations to mass through electronic and print media. But artist has his own creative view point that sometimes visualises the imagined future’. Let us not make big promises that are difficult to keep but small acts that are easy to follow in order to upkeep our environment. Is someone practising! Pradosh Swain works and live in Delhi, India.
Dr. P. K. Mishra (Art Historian)
Presently Serving as Associate Professor, BHU
Sunday, April 26, 2009
AlumniBKCAC organized a sketching workshop, as its second event in the series of Silver Jubilee celebration of the Bibhuti Kanungo College of Art & Crafts, Bhubaneswar. The workshop was planned in the foothill of Khandagiri in Bhubaneswar on the eve of Odiya Nava Varsha (New Year) celebration in the sculpture studio of Saroj Bhanja, a young and enthusiastic sculptor. This workshop was a gathering of the old students and present young artists to develop harmony and co-ordination amongst each other.
The event began with a congregation by the artists that was formally introduced by the president of the alumniBKCAC Adwaita Gadanayak. Subrat Mullick, the secretary of alumniBKCAC vividly projected the programmes that are scheduled to take place through out the year. Sculptor Anjan Kumar Sahoo, joint secretary AlumniBKCAC, invited constructive suggestions from all members, who were present, to make Silver jubilee celebration an extraordinary and special. AlumniBKCAC Executive member Ashok Nayak, who is director of Delhi based Ashok Art Gallery has updated about construction of organization website which is running as beta test now, the members were informed that it would be back with a new and attractive look with lot more features and interactive options. and it will lunch officially on the month May. Another alumni Durga Patnaik has mentioned about a proper documentation of all alumnus in college register which will provide a right information to all the students and as well as to visitors. Executive member M. Sovan Kumar informed about his Mega Art Exhibition project that is coordinated by him for the silver jubilee project.
The formal discussion was followed by a workshop of drawing and painting, wherein the artists present participated. These events were regularly organized and managed by the local alumni in order to make a meaningful presence in the contemporary art field. The events might just seem usual but they carry the emotion of the former students and their commitment towards the art college that has nurtured them to achieve the present feet. This workshop and interaction turned successful with the presence of Kamalakshya Kanungo, Subhranshu Panda, Meenaketan Patnaik, Shyama Prasad Tali, Lipishree Nayak, Ashok Nayak, Rabinarayan Sahu, Saroj Bhanja, Siba Prasad Patri, Rajiv Pradhan, Debadutta Naik, Niroj Satapathy, Harekrushna Ojha, Lalata Kishore Pradhan, Divya Ranjan Rout, Subhadarshi Swain, Lalit Swain, Gautam Sahoo, Satyajit Das, Manas Moharana, Kanta Kishore Moharana, Biswa Ranjan Kar, Satabhama Majhi, Nilanshu Bala Sasmal, Chanda Kishore, Chandra Sekhar Sethi, Smrutikanta Rout, Somanath Rout, Abakash Martha, Gopal Krushna Rath, Niranjan Mangaraj, Niranjan Ojha and Sukant Moharana.
The event was convened by Veejayant Das, member of the alumni and Pratap Jena, Executive member of alumni. The space was provided courtesy Saroj Bhanja which literally fused the environment with artistic ambience.
Monday, April 13, 2009
An open disscussion on contemporary art practice about different problems artists are facing now a days and how to overcome.
Oriya Dalma n Bella pana
Thursday, April 2, 2009
On the occasion of Utkal Divas the alumni BKCAC decided to begin its Silver Jubilee event with Chitra Murchhana: a workshop for students, teachers and friends of BK College, where the 100 feet canvas was commonly painted by the artists on site at the college premises. This event was formally inaugurated by Shri Bijay Jena, Commissioner, Ministry of Culture, Government of Orissa in the presence of Dr. Alekh Charan Sahu, Principal, B K College and Shri Adwaita Gadanayak, President and Shri Subrat Mullik, Secretary, alumni BKCAC.
Speaking about the objective of the organisation Subrat Mullik said, ‘the alumni BKCAC aims at inspiring the young and talented students to participate and interact in the global sphere and to introduce them to the latest art education in fine art.’ Principal of B K College, Dr. Alekh spoke about the noble effort by the alumni for the development of students and the college as a whole. ‘The alumni has transformed the college atmosphere and charged it with enthusiasm and creativity’, expressed Alekh on the occasion of inauguration.
Veteran artist and retired teacher Shri Siba Panigrahi was nostalgic and passed through the memory lane to recollect about the barren land where the present is located and how much effort has gone into its making. He mentioned about how the effort of the first Principal Dr. Dinanath Pathy’s constant follow-up made it possible. Further he impressed upon the formation of the college at Cuttack in the name of Bibhuti Kanungo and its transformation into the art college in Bhubaneswar through the political efforts. He also suggested preparing a bronze statue of Bibhuti Kanungo and place in front of the college. Mr. Bijay Jena in his deliberation as chief guest spoke about the contribution of the college and its function in the last few years. He spoke about the state participation and realising the dream of a Modern Art Gallery in Bhubaneswar. The initial move has begun and he requested the college authorities to cooperate in the venture so that one step could be taken toward the achievement. ‘I appreciate the collaboration by the alumni in growth of the Orissan art situation and hope the proposed events would be beneficial to the young and upcoming artists in Orissa, concluded Shri Jena.
Adwaita Gadnayak said that, ‘let us move from here and make Bhubaneswar a global hub for art activities instead of going out to the cosmopolitan cities and search out a niche, which is not only difficult but sometimes disgusting too.’ He was speaking about the resources in Orissa and the art activities. In his presidential address he invited the young artists to collaborate and make the silver jubilee event successful. The support was acknowledged by Dr. Pradosh Mishra, an alumnus, who was participating in the event from Banaras Hindu University. On this occasion, eminent artists like Shri Siba Panigrahi, Shri Pramod Mohanti, Shri Gouranga Bariki, Shri Kashi Jena and Shri Jayant Das, Shri Tarakanta Parida, Ashok Nayak and many others were present. The event was coordinated by Shri Bijay Nayak.
Following the inauguration, all the artist members including Chief Guest Shri Bijay Jena sketched on the 100 feet canvas and made the workshop colourful. Every member participated in the event enthusiastically and contributed to the stretch of the canvas. Alongside the sketching, they interacted and alumni exchanged their memory about the college and the art field in Orissa. The beginning of the event was marked by a chorus of Vande Utkala Janani by young children that impressed the audience. The first event by the alumni BKCAC on the 1st of April, 2009 the independence day of Orissa thus became meaningful and would keep the artists inspiring for long time to comoe.
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Monday, March 30, 2009
Wednesday, January 28, 2009
Faculty of Arts, Banaras Hindu UniversityVaranasi-221005
Emerging Trends in Contemporary Indian Painting during 1990 and 2004: A Study in the perspective of Globalisation and National Identity
Area of Specialisation
Contemporary Indian Art, Traditional Sculpture Workshop in Orissa
Since 1994 documenting living and working conditions of Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa
Teaching 11 years
I) Post Graduate courses in History of Art (Indian Aesthetics, South East Asian Art, Pahari Painting, Contemporary Indian Art, Art Exhibition Management)
II) Graduate Courses in History of Art (Western Art, Indian Sculpture, Indian Painting, Fundamentals of Indian Art)
III) Post Graduate and Graduate Courses in History of Art at Mahatma Gandhi Kashi Vidyapith, Varanasi (Western Art-Modern and Post Modern) as a guest faculty.
IV) Post Graduate and Graduate courses in History of Art at Faculty of Visual Art, BHU Varanasi (Modern Indian Art- Painting and Sculpture, Modern Western Art) as a guest faculty.
V) Graduate Courses in Mahila Mahavidyalaya, BHU, Varanasi (Indian Painting) deputed by Department of History of Art, BHU
Publication/ Editorial Association
Workshop Tradition in Orissan Sculpture (in Press)
Co-Author, ‘Chandrasekhar Rao- Life and Work’, with Dr. Dinanath Pathy, published by Working Artists Association, 2000
Editorial Assistant, Kala Samvad, Lalit Kala Akademi, New Delhi, 1995
Associate Editor, ‘Tribal Art, Primitivism and Modern Relevance’, published by
Working Artists Association, 1990
Papers and Articles Published
Contemporary Indian Art: New Imagery and the Question of Identity, paper published in NAFA Symposium on New Asian Imaginations, Singapore, 2008
Globalisation and contemporary visual art: A case study of India, paper abstract published by the ICAS 5, Kuala Lumpur, Malaysia, 2007
Shifting Mind-Engaging Space, Bronze, Gallery Espace, New Delhi, 2006
The Problem of Art Historical Studies in Orissa: Vision and Contribution of Dinanath Pathy. (paper accepted for publication)
Spelling the Regional Flavour, ‘Let a Thousand Flower Bloom- Contemporary Art Of Orissa’, Aryan Book International, New Delhi and Working Artists Association of Orissa, 2001
Figurative Transformation, Oddiyan: Six Contemporary Painters of Orissa, Herman Publishing House, New Delhi, 1997
Reverberation, Exhibition Catalogue of Chandrasekhar Rao, 1997
Into the Realms of Unknown, Beyond the Shores, Viswa, New Delhi, 1995
Primitive Influence on Udayagiri Cave Sculptures, Tribal Art, Primitivism and Modern Relevance, Working Artists Association of Orissa, Bhubaneswar, 1990
Number of Reviews, Art analysis on contemporary art and Book reviews published in the Daily Newspapers in Orissa.
Art Interaction, Documentation of Indo-German Artists Workshop, Varanasi, 2003
Regional Art Exhibition, Varanasi Zone, Lalit Kala Akademi, Lucknow, 2002
Seminar Participation and Papers presented
Contemporary Indian Art: New Imagery and the Question of Identity, paper presented in absentia in NAFA Symposium on New Asian Imaginations, Singapore, 2008
Possibilities of Lacquer in Contemporary Art as a medium: New Dimensions, National Seminar on Lac in Indian Art and Culture, Balasore, Orissa, 2007
The Living Tradition of Stone Carving in Orissa: Texts and their present Relevance with reference to Master Artist Khirod Chandra Maharana of Lalitagiri, National Seminar on Silpa Texts and its Relevance, Jnana Pravaha, Varanasi, 2003
Shift in Stone Workshop Practices- a case study in Lalitagiri, National Seminar on Art Practices in India Today, Bhubaneswar, 2001
Traditional Linkage in Contemporary Orissan Art: Towards a Regional Vocabulary, National Seminar in Millennium Multimedia manifestation, Bhubaneswar, 1999
Concept of time in Dancing Sculptures of Konarka, International Symposium on Sculpture and Dance, Varanasi, 1999
Urban Experience of the Contemporary Artists of Orissa with reference to Working Artists Association, National Seminar on Urban Image in Contemporary Indian Art, Faculty of Visual Arts, BHU, Varanasi, 1998
Himalayan Landscape Painting by some Contemporary Indian Painters: An Observation on treatment of Space, National Seminar on Himalayan Glory, Allahabad Museum, Allahabad, 1998
Participated as an Observer in the National Seminar on Terms and terminologies in Indian Art, Lalit Kala Akademi, New Delhi, 1994
Primordial Influence on the Paintings of some Contemporary Painters of Orissa, National Seminar on Primitive Vigour as a part of Festival of India to Moscow, Lalit Kala Akademi, New Delhi, 1991
Importance of Art Education in Primary Schools in Orissa, State Seminar on the Status of Art Education in Orissa, Bhubaneswar, 1989
Contemporary Art Situation in Orissa, National Seminar on the Contemporary Art and Artists of Orissa, 1988
Workshop on Indian Bronzes, Sarabhai Foundation, Ahmedabad, 1998
Art Appreciation Workshop, Lalit Kala Akademi, Orissa, 1996
Technical Workshop on Conservation and Preservation of Art Objects, by Indian Conservation Institute, Lucknow, organised at Govt. Museum, Chandigarh, 1993
Painting Workshop organised by HABITAT, Bhubaneswar
Member of Professional Bodies
Member, Working Artists Association of Orissa, Bhubaneswar
Member, Indo-German Art Forum, Varanasi, India
Art Interaction- Exhibition of the produce of Indo German Artists Workshop, Jointly Organised by the indo German Art Forum and Department of Fine Arts, Mahatma Gandhi Kashi Vidyapth, Varanasi, 2003
Joint Organiser of Indo- German Artists workshop held at Department of Fine Arts, Mahatma Gandhi Kashi Vidyapith, Varanasi, 2003
Graphic Prints and Paintings by four German Women Artists, ABC Art Gallery, Varanasi, 2003
Visualised the Regional Art exhibition organised by State Lalit Kala Akademi, Lucknow, 2002
Visualised Painting and Photo Exhibition, Himalayan Glory, Allahabad Museum, Allahabad, 1998
Art Director, Swang Manch Theatre Group, Chandigarh, 1994
Audio- Visual Documentation of Contemporary Orissan Artists, Central Lalit Kala Akademi, New Delhi, 1993
Award by Orissa Media Centre, Sunanda Pathy Foundation and Bhubaneswar Sahitya Samaj for Art Historical Studies and Art Criticism in Orissa, 1997
State Award for Painting, Working Artists Association of Orissa, Bhubaneswar, 1997
Chhanda Caharan memorial State Award, 1997
Award for Best Painting and Cartoon in Panjab University, Chandigarh, 1994
Working Artists Association, Orissa
State Lalit Kala Akademi, Orissa
Rashtriya Kala Mela, Bangalore
Regional Art Exhibition, Bangalore
State Level Art Exhibition by All India Fine Art and Crafts Society, New Delhi
Beyond the Shores, Rabindra Bhawan, New Delhi
Spring is Not Over, Punjab Lalit Kala Akademi, Chandigarh
WASH, Watercolour Painting Exhibition held at Hotel Oberoi and Hotel Kalinga Ashoka, Bhubaneswar, Orissa
He has produced an audio-visual documentary on Two Contemporary Painters of Orissa for National Lalit Kala Akademi, New Delhi in 1993, and has extensively documented various living Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa (India) under the project Workshop Tradition of Orissan Sculpture from 1994 to 2000.
Mishra also co-authored a monograph entitled Chandrasekhar Rao: Life and Work, published articles on Contemporary Art in publications entitled Bronze (2006), Let a Thousand Flowers Bloom (2001), Oddiyan (1997), Beyond the Shores (1995), and Tribal Art: Primitivism and Modern Relevance (1990).
He has presented papers at several national seminars on art historical studies and participated in an international symposium on sculpture and dance, organised by Ram Chhatpar Shilp Nyas (1999), and Art Interaction, organised by Indo-German Art Forum (2003) at Varanasi.
Pradosh Mishra is an alumni of BKCAC and he is working as a Exceutive member of the organization
Thursday, January 22, 2009
BFA: B.K.College of Art and Crafts, Bhubaneswar-89
MFA: Delhi College of Art, New Delhi-92
Post Graduate: Slade School of Fine Art, London -95
Scholarship: Commonwealth -93
The installations in this Triennale which observed the norms of art and not flouted them, were those like the ones by the sculptor from Orissa, Adwaita Gadanayak, in a work titled Soul, a genuine piece where full justice would seem to have been done to a hallowed word. Here potent idea and the created image were finely, very precisely dovetailed, in order to build up a convincing metaphor…Keshab Mallik
Gandhi Musuem, New Delhi
Among the outdoor displays, a full-scale replica of Hriday Kunj, the residence of Mahatma Gandhi and his wife Kasturba in Satyagraha Ashram at Sabarmati where they lived from 1918 to 1930, the seated sculpture of Mahatma Gandhi, Adwaita Gadanayak's black marble stone of Mahatma Gandhi followed by some of the Marchers on the famous Salt March and the replica of famous Bose's woodcut 'Walk Alone' carving in cement are surely a feast for the eyes of visitors.
Tuesday, January 13, 2009
Bachelor of Fine Arts, B.K. College of Arts & Crafts, Bhubaneswar, India, 1995
M.F.A (Painting), College of Art, New Delhi, India, 1998
Important scholarship :2004 UNIDEE in residency
Born: Burla, Sambalpur, Orissa
The Horror Show is an installation against violence. The viewer is invited to sit down at a table and browse through the images in a photo album. The photos are, however, not of the kind we are used to finding in somebody's home, but depict victims of massacres and wars. From hidden speakers in the room we can hear people crying and suffering. The sound was recorded on location in Nepal, but has been distorted with the help of Peter Verwimp in order not to belong to one particular place, but to be universal. These issues are not only confined to Nepal, India or the Middle East, it's something that concerns all of us, everywhere. Next to the photo album, the viewer can find paper and pens and write down his/her opinions on the matter. Pratul will later send these letters to the UN.Pratul has also worked on a proposal for the design of Illy Cafe coffee cups and plates. The cups and plates are decorated with photos of the thumbs of people from different classes of society, of different colours, religions, professions, and so on. The cup of coffee therefore becomes a meeting-place where social aspects are no longer relevant and Pratul hopes it will help to bridge the gaps between people.He has also been thinking a lot about the relationship between architecture and human beings. All buildings have their own history and he's interested in studying how we react to it.
The works done during Pratul’s formative years exemplified his existential dilemmas in a sharper way. He made his self portrait in various postures, at times going to the levels of contortionism. These portraits were seen against the backdrop of barren lands and abandoned city scapes. The sparsely inhabited cities become a metaphor for him to emphasize his angst as a lonely man who traverses through un-chartered paths. The egg shaped forms, or melting ice forms blown up beyond the point of reality gagged his portraits that forced him into a struggle of muteness. He vocalized his concerns through these mute and mutant images.
His sustained interest in postmodern theories and various articulations of these has taken Pratul Dash to make a lot of works on paper also. His water colours deal with the particularities of an urban space; especially the displacement of the self and body in relationship with the animal imageries that are seen quite unnatural in the naturalness of the urban aloofness. The animals that abundantly come to play a dominant role in the pictorial renditions of Pratul Dash underline the unnatural existence of the human beings within the alienated modern and post modern urban locales.
A series of paintings on contortionism has helped Pratul to bring in his observations on the dilemma of contemporary lives. Also the recent video works that he had done when he was in Italy and later in New Delhi show his engagement with the spaces of commodities and commodification. Extensive footages of malls and mannequins are edited skillfully to create a hyper reality that corresponds to the erotic and ethical instincts of the consumer man. These videos function as a field of retrospection and introspection rather than an active critique on accentuated consumerism.
One of his video works that Pratul has specially prepared for his major solo exhibition shows the artist in his native village in Orissa. He is seen in an act of tying himself with a thread, which could be a sacred thread that demarcates his caste position, around his head and face. The violent action with which he ties himself turns his face into a distorted mass and the untying of the thread leaves a mesh of markings on the skin. It looks like a body drawing, using body as the medium and surface. Like a Chris Burden or Vito Acconci he inflicts pain on himself to eke out a meaning of affection, infliction and restoration.
Pratul in his concept note on this work states: “One might get a strange sense of relief as the performance unwinds and the distorted image of the face gains balance. What remain are the marks of the string’s path of punishment and an extremity of detachment and peace in the end. It is a kind of come back for me in my native land.” This coming back (of a not so prodigal son) is substantiated by further enactment of the same action in artificial situations, edited and incorporated into the main body of the video work. Pratul Dash is a painter who cares for the environment and his fellow humans, and uses his canvas to voice his cares. Every work of art is a window to its makers’ beliefs — aesthetic, political, philosophical...whatever. In the case of Pratul Dash, that window is wide open. You can see Dash’s engagement with social and political issues affecting the country all over the canvases, photographs and videos .
Large vistas of bare landscapes; geometrical blocks evocative of the concrete maze our cities have become today; scaffoldings, ladders and pipelines that seem to stretch into infinity — these are recurring tropes in Dash’s work, used to signal the paradoxes of urbanisation, of the country’s headlong rush towards Western-style development, leading to the depletion of forests and alienation of individuals. “I have nothing against the growth of the country, but my concern is with the cost of it,” Pratul Dash says.
Pratul says that during his stay in Nepal he could see the pain in the eyes of people. The day he got there he saw the news on TV about the massacre of a family. Pratul went the following day with an artist friend to scene of the crime, the only survivors were the mother and her two-year-old child. It was a shocking and difficult sight. He strongly believes that silence is not a solution to these situations and he has continued working on these matters to bring the issue in front of an international community and ask for our direct participation. Working at Cittadellarte has helped Pratul realise that it is possible to create networks and move art out of the galleries and into society. It's the artist's duty to deal with social issues. Besides many exhibitions in India, his works are exhibited at USA, UK, ITALY, HONG KONG and DUBAI.
Pratul Dash is one of alumni BKCAC and working as Executive Member of the Organization
Monday, January 12, 2009
Today the field of art has become so vast that medium is no longer a barrier for an artist. Now art is not limited to conventional art and craft. Contemporary artists are versatile. They are adept at every type of art including canvas painting, video art (narrative and non-narrative) and sculpture (stone, wood, fibre, glass, etc).
But as far as opportunities for artists are concerned, the scenario is bleak in Orissa. The government is least bothered about art students' future so talented artists cannot go abroad for higher studies. If you're a traditional artist, somehow you'll survive here but if you're a modern artist you won't. Serious practice of art is missing here which forces good artists to migrate to other cities.
Like, after completing graduation from BK College of Art here in 1991, I studied post-graduation in fine arts in MS University, Baroda. Then I moved to Delhi in 1995 and started practicing as an artist. Then again I went to London in 2002 to pursue MA in Royal College of Art by achieving INLAKS foundation scholarship. After returning from UK, I set up my own studio in Gurgaon. Had such facilities been here I would have preferred to stay in Orissa. My dream is to develop Bhubaneswar as a global hub for artists where international-level artists would come and interact with local artists. When it comes to contemporary art and new research in the field, we need an up-to-date centre having a library and facilities for holding workshops and events here. Now I am trying to develop a state of the art studio in Bhubaneswar and hopefully it'll come up within next few years.
New Delhi has become a kind of place for artists from across the country and to work here is not only a challenge but also a privilege. Art is a very important segment. Artists contribute considerably for development of the aesthetic culture of a state. History says, governments or connoisseurs of art did always patronage artists.
Times are changing, so also the mindset of people as well as government towards art. A case in point is beautification of Bhubaneswar. It shows the positive attitude of the government which has started giving priority to art and heritage. But we need to deal with such things delicately. Some serious intellectuals, architects, designers and artists should have been involved it, to make it a planned and better way like Bindusagar.
But job opportunities for artists are very poor in Orissa. Small jobs like screen painting, design units and part-time jobs are only available. In the last quarter of 80's art teachers' posts were abolished. Lectureship is deemed to be the best job in our field but new colleges are not being set up and posts are not created, neither vacancies are filled up. Even if foreigners are visiting regularly Orissa only through this beautiful city Bhubaneswar and in the name of beautification people are just giving it a more and more ugly look, our city will say all about us, if a visitor comes from outside. That so we guys who are passed out from B.K.College have formed an oranigation named AlumniBKCAC. We all has a dream to bring our college, city and state in national and global platform regularly.We are planed out some initial projects , one can find by browsing alumnibkcac.org.
There are six to seven art colleges in Orissa, out of which only two are government. There is not a single art university here, I will never admit this culture university as an university. I have abashed when visited it recently, nothing is there to claim as an university. Existing colleges need to be upgraded, global model should be adopted in art education. Facilities, infrastructure should be upgraded in art institutions. Time to time evaluation should be done to improve curriculum. Aesthetic art, architecture, design and craft should be properly presented. Serious institutions should be there to promote local art and craft. Local aesthetics, local culture should be taught to students at school-level. School students should be imbibed these things.
The government should give a serious look into this in view of the fact that demand is rising in the field and more students are opting for art as a career.
Jagannath Panda is an alumni of BKCAC and he is working as
Friday, January 9, 2009
The effort of the teachers and students in the inadequate space dreamt of a new world, which deals with innovation and realisation. The integrated conviction has brought the BKCAC through these twenty five years. In these years there have been ups and downs but the nuance and vibe of the associates has remained intact. Besides national and international awards the students have dissolved the boundaries and attained honour by receiving fellowships from INLAKS, Commonwealth, Japan Foundation, Chinese Government Scholarship and several other awards. The achievements are due to the education that moulded the minds of the students.
The college is completing its twenty five years in 2009 and to mark the occasion, the alumni of the college are organising a silver jubilee event (spread over several days) in the college premises at Bhubaneswar, Orissa. The programme of the events is being finalised and the objective of the event is to focus the contribution of the BKCAC to Indian Contemporary Art and to introduce the potential of art students and young artists of Orissa to the global programme in ART. The events include international and National artists participating in workshop and deliberation, spread over three days; audio visual projection of a documentary on the BKCAC; Artists interaction in the global level. In short it projected to be a mega event, involving people from every walk of life. This event would significantly contribute to the development of Contemporary art.
Web : http://www.alumnibkcac.org/
Shri Adwaita Gadanayak
B-404, Vidyut Apartment81, I.P. ExtentionNew Delhi-92
Shri Jagannath Panda
C-30, G/F, Sum city, Sector-54, Gurugaon, Haryana
Shri Subrat Ku. Mullik
Lecturer, B.K. College of Art & Crafts, Bhubaneswar-751030
Shri Anjan Ku. Sahoo
Village- SampurPlot No.7449/1388Near S.O.S. VillageGhatikia, Bhubaneswar.
Shri Tarakanta Parida
132, Forest Park, Bhuibaneswar
Shri Anup Chand
Flat No.301, Plot No.221, Gyankhanda-I, Indrapuram, Gaziabad, U.P.
Shri Pradosh Mishra
L-4, Warden’s QuarterJodhpur ColonyBHU, Varanasi,U.P.
Shri Ashok Nayak
I-24(A), Subhash Chowk, Laxmi NagarDelhi-110 092.
Shri Prabir Dalai
Lecturer, Dhauli College of Art & Crafts, Near Dhauli Santi StupaBhubaneswar-751002
Shri Pratap Jena
Qrs. No.8, Type-II, 2nd P & T Colony, Vanivihar, Bhubaneswar.
Shri Pratul Dash
S.F.-4, Siddhi Vinayak Apartment, Abhayakhanda-III, Indrapuram, Gaziabad, U.P.
Shri Nigamananda Swain
Instructor, Government College of Art & Crafts, Khallikote, Ganjam
Shri M. Sovan Kumar
1113, Basista Nagar, Old Town, Bhubaneswar
Shri Sangram Kr. Moharana
At-Mahura, P.O.-Retanga, Dist. Khurda
Mrs. Kabita Mohanty
SCR-10, Chandrasekharpur, Bhubaneswar.
Shri Jyoti Panigrahi
71, Ist Floor, Jigyamlok, Delhi-110 092
Shri Sudhansu Sutar
J-2/46, DLF Phase-II, Gurugaon, Haryana-2
Shri Dillip Ku. Tripathy
Lalit Kala AkademiRabindra BhavanNew Delhi-110 001.
Central School,SalwaKharagpur, West Bengal