Jagannath Panda's 'Meeting the History' commissioned by Hindustan Times Media House, New Delhi to be installed

After senior Odia Artist Jatin Das who has been commissioned for Parliament House of India, young Jagannath Panda became the 2nd Odia Artist in this category. Jagannath Panda's 'Meeting the History', the largest work he has ever been created, commissioned for the new lobby of the Hindustan Times House in Janpath, New Delhi, which is an official design trial venue of the India Design Forum. It will be inaugurated on friday, march 2nd at 6.30pm

SOLO SHOW of Sudhanshu Sutar at Art Heritage, New Delhi

Sudhanshu Sutar's outstanding new series in acrylics and watercolours at Art Heritage, New Delhi. Opening on 17th Feb till 13th March 2012

A Note on Sudhanshu Sutar:

One meaning-making procedure that Sudhanshu Sutar employs in his picture making is to assemble all the images that come into the immediate world of his studio. Sudhanshu utilizes his studio as an image bank where all the objects lying around casually, as well as the carefully selected objects that he brings in to his studio, begin to migrate into his paintings, as if, for a second life.

While Sudhanshu references Indian Maharajas of the British colonial period in this series, it is interesting to read a range of meanings into these metaphors. Is it a kind of feudal nostalgia in a country where people have always loved and respected their kings, a country where a people's revolution has only been possible because it was against Imperial foreigners and not against our own native rulers? In such a context Sudanshu's obsession with Gandhiji takes on a different charge altogether. Or do the rajas refer to contemporary life where High Networth Individuals (HNI) resemble the erstwhile Maharajas, making this series of work a critique of our contemporary economic situation, where only a very small percentage of the population lead ‘royal’ lives, the vast majority living in the same abject poverty as they did in colonial times.

VISIT ONLINE:

SOLO SHOW by Helen Brahma @ Regional Centre Gallery

Proceeding of the Executive body meeting held on dt. 01.08.2011 at Alumni BKCAC Office at Bibhuti Kanungo College of Art and Crafts, Khandagiri, BBSR

Members Present:

1-Sri Adwait Prasad Gadanayak President,

2-Sri Jagannath Panda Vice-President,

3-Sri Subrat Kumar Mullick, Secretary,

4-Sri Anjan Kumar Sahoo, Jt. Secretary,

5-Sri Tarakanta Parida, Tresurer,

6-Sri Prabir Kumar Dalai, Executive member,

7-Sri Nigamananda Swain, Executive member,

8-Sri Pratap Kumar Jena, Executive member,

9-Sri M Sovan Kumar, Executive member,

10-Sri Sangram Maharana, Executive member,

11-Sri Ashok Kumar Nayak, Executive member,

12-Miss Priyadarsini Mohanty, Executive member,

13-Sri Manas Ranjan Jena,member

14-Sri Meenaketan Pattanaik,member.

Meeting was held at the AllumniBKCAC Office , on dated 01.08.11 at 12 noon in the chairman ship of vice-president sj Jagannath Panda. The following matters has been discussed and taken decisions for smooth running of the AlumniBKCAC.

1. Any Programme proposed by the members should be approved by the Executive Body & Programme should followed with requirement and resource of fund.

2. All the members should work together to raise funds by devoting their time & effort.

3. Regarding organization of a seminar/workshop of outsider artists as proposed by our member Sri Pradosh Kumar Mishra, it is decided that , Sri Mishra hereby requested to sent a detailed report for taking necessary action at this end.

4. Seminars will be organized time to time and Sri Anjan Ku. Sahoo and Prabir Kumar Dalai members are hereby requested to take necessary steps for successful organization of the said programme

5. Meet the Artist’s a programme namely “Sampark” to relate present students of B.K.College of Art and Crafts, with Alumnis for better acceptance.In this connection the executive committee decided that Sri Ashok Nayak, Sri M. Sovan Kumar and Sri Meenaketan Pattnaik will decide the programme and artist.

6. Proposals and representations should be sent to Central Lalit Kala Akademy, New Delhi for the betterment of the Odia art and artists.

7. A Newsletter and programme will be made to aware the Alumnies regarding activities.

8. A financial review committee has formed by the executive body to streamline the financial matter and records of Account. In this committee Sri N.Swain , A. Sahoo, P. Dalai and Sri Subrat Mullick are the members.

9. A proposal is coming for consideration to set-up a library for keeping of books and catalogues.

10. Members present strongly recommended for smooth running of AlumniBKCAC.

11. Proposal came from Sj Jagannath Panda, he proposed poster/leaflet regarding programme conducted by Alumni should be put in the Notice board in sufficient before commencement of the Programme as promo.

12. As per previous decision of the executive body regarding publication of a Monograph of Sri Byomakesh Mohanty (Ex Lect. In Painting) is seems to postponed further an Exhibition ‘A Tribute to Byomokesh Mohany” with a publication namely Shradhanjali have been published in association with Artist’s Association of Orissa (AAO) at Rastriya Lalitkala Kendra, Bhubaneswar, to mark his 1^st death anniversary.

The above matters have been discussed and unanimously decided for the smooth running of the AlumniBKCAC,

The meeting was over after thanks to the president (Sri Adwait Prasad Gadanayak) .

Sd/-

Signature

President, AlumniBKCAC

Workshop on Drawings as a process of Art Making by Jagannath Panda

SOLO Show by Ajay Mohanty at New Delhi

Started at Ashok Art Gallery, It will be on vew till 6th of february

little about: The art tradition in India is so very strong that artists adapt the visual elements with subtle changes to suit contemporary makeover. In the case of Ajay Mohanty, one could easily consider these remains. They have emerged with subtle aesthetic layers with focus on the compositional patter. Stylistically different though but the gestures and colour have strong reference points. The only deviation perhaps is that of the space treatment and that make it visual strong and appealing.His works hover on the verge of resolve, oscillating between fragile spaces and painterly surfaces arrived at by a variety of means. While his interest in painting's history is visible, each painting is treated as an open ended exploration. The work functions with its own internal logic yet is firmly rooted in the world of experience, displaying a gentle but insistent emotional undertow.

Each of the works on display require time and scrutiny to reveal their quiet intelligence and strong determination to capture the poetic capabilities of the artists' chosen medium. In this technology driven era, it is easy to forget the role of the handmade object and the importance it plays in a contemporary context. Not overly pretentious or garishly imposing, Ajay the artist in this exhibition force the viewer to look beneath what is literally seen to reveal questions about their mediums' historical burden.

Ajay Mohanty received his BFA from Utkal University at B.K. College of Art and Crafts, Bhubaneswar, Odisha, 1996, He was awarded by Lalitkala Academy as best child artists at his age 11, after his fine art education he shifted to Delhi and working on creative field, over the past five years, participated in numerous group shows.His works has been showcased in both the Indian Art Fair, India Art Summit, New Delhi and Art Expo India, Mumbai by Ashok Art Gallery.


INNOCENT DIVINE

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India 2008, 09 Mumbai and India Art Summit 2008 New Delhi.

The latest video by Pratul Dash at New York, "The Story of a Landscape" (2010)

Opening : 29 October 2010, 6:30 to 8:00 pm

Exhibition opens to the public November 01 - December 04, 2010.

Sponsored by Tamarind Art Council

The latest video by Pratul Dash, "The Story of a Landscape" (2010), in the gallery's main hall is an experimental fusion of live action and animation with digitally stitched landscape depicting two of the artist's oil paintings named, "Conch Blower" and "Man with a Camera". The work will extend and amplify the conscientious nature of Dash's recent work, demonstrating an evolution in Dash's practice, with elements not often seen in his past work such as the use of CG animation. The film opens with picturesque landscape, alluding crisscross sections of time and space. When idyllic representations are subverted by the artist's perception, the landscape becomes a site of haunted desolation.

As an artist who was born in a small town in India and migrated to bustling metropolis in his adult life, Dash's art is very sensitive to his environment, reflecting the socio-cultural ethos he inhabits and works from. "Life of a Double", a disturbing dual projection is a product of artist's endless quest to locate the urban and the existence of the human beings in the urban locale.

In "Reflection", the viewer can sense the pain caused by displacement of the self and the physical body, and the struggle of trying to exist in as familiar land as a rightful citizen rather than a refugee.

Pratul Dash is an artist on the rise both at home and internationally. Dash, (b. 1974, Orissa, India) has exhibited extensively in major international institutions and has received numerous awards including, the prestigious Industrial literature society, Biella, Italy in 2005 and a scholarship from the Inlaks Foundation in 2004; the M.F. Husain award from the College of Art, New Delhi, in 1998; and three annual awards from the B.K. College of Arts and Crafts, Bhubaneswar, in 1991, '92 and '93.

Select solo exhibitions by Dash include 'Human Spaces', Sarah Khan Contemporary Art, Schaan, Switzerland, 2010, 'Proxy Origin', Palette Art Gallery, New Delhi, 2008, showcased at both the Indian Art Fair: India Art Summit:2008 and Art Expo India: 2008, 2009 by Ashok Art Gallery, 'Neo-Istoria' at Palette Art Gallery, New Delhi, in 2007; 'UNIDEE in Residency' at Cittadelarte, Italy, in 2004; and those at Krishna Collections Art Gallery, New Delhi, in 2003; Triveni Art Gallery, New Delhi, in 2001; and Rashtriya Lalit Kala Academy, Bhubaneswar, in 1995. Dash currently lives and works in New Delhi, India.

About Tamarind Art Gallery

Established in 2003, Tamarind Art is an innovative forum for Indian contemporary art that inspires and challenges global audiences to embrace an understanding and dialogue about art in today's day and age. Tamarind Art encourages broad-based practices, encompassing a myriad of realms such as painting, sculpture, photography, installations, and video art projects. In addition to showcasing high caliber art, our mission is to become the premiere resource center for gaining an understanding of Indian art and artists who engage themselves into a challenging spectrum of work. In dealing with global issues that reflect contemporary society's concerns while documenting today's reality, rendered in a veritable and expressive light, these artists yield artistic versatility to Tamarind Art.

For more information about Tamarind Art Gallery, please visit our website at www.tamarindart.com

Tamarind Art Gallery is located at 142 E. 39th Street, New York, NY, 10016. Contact us by calling (212) 990-9000 or emailing info@tamarindart.com

Bhubaneswar-based Kanta Kishor Moharana has been creating newspaper sculptures in marble for the last 10 years

Dark Science of Terrorism

Uma Nair, 24 July 2010, 03:01 PM IST

Blogs

Gallery Espace’s Going Going Gone, had two sculptures that zoomed into the value and volatile nature of headlines in newspapers. And Times Of India as a brand became the subject of an artistic composition. Bhubaneswar-based Kanta Kishor Moharana has been creating newspaper sculptures in marble for the last 10 years and he uses a gun and the imaging expression of a smoky map to give us the metaphor of global terrorism as an urban testimony.In many ways this sculpture also talks to us about the idea of visionary morphism and the re-examination of atrocity in the urban milieu.

This sculpture also comments on modern day society, it is like a global anthology of peace talks that have fallen apart of places and people in jeopardy and the resulting aftermath of ensuing disasters. The gun translates the numberless death tropes in the angst ridden time of terrorism. This sculpture tells us that as a society we have become a wounded generation. And in this climate of wounds our trust has been replaced by a series of politically driven controls.The artist’s position is that of an observer who stands helplessly and watches.

He articulates a raw space in which the newspaper becomes his medium and message-in a world that has been suppressed in its quest for mass consumption. A newspaper as a subject can be the instrument for soul searching dynamics.This sculpture affronts us and asks us to understand the basis of events and the sadness of death .The gun created out of bronze and stuck to the marble becomes the epitome of cultic symbolism. It talks to us about the futility of philosophic predicaments and the dark science of global terrorism that has become the definition of humanity’s angst.

Source:

Blogs

SOLO show of Drawings by Purna Behera @ Triveni Kala Sangam, New Delhi

You are all cordially invited to DIGGING-HISTORY, a solo exhibition of Drawings
On preview at 6.00pm. 26th March 2010 and it will continue till 5th April 2010
At: Triveni Kala Sangam 205, Tansen Marg, Mandi House, New Delhi
Your presence will be a inspiration for me and will love to see you there
Purna Behera
AlumniBKCAC

FACE OF THINGS TO COME ? a SOLO Show by Suchismita Sahoo

FACE OF THINGS TO COME ?

Not all that many artists concern themselves much with the urban pedestrian, except to call his attention to the few architectural beauties and multiple horrors that surround him on his 'to-ings and fro-ings'. Thus artists, who protest vehemently against the drab and sordid facade of our hectic times, therefore do a service to society and social living. In Suchismita Sahoo's oils we observe two conjoined faces of the reality, we presently live in. The first and the everlasting one so far is the integrity of nature, of her flora and fauna – bees, birds, beasts, trees, bushes, flowers, the hitherto limpid waters, and the blemishless skies, etc. In all this we sense a calmer, sweeter and more spacious way of life and living. It is this world we constantly turn to after our trying, exhausting labours of sheer survival.

That being so, the artist meaningfully juxtaposes such pure enchantment with its obverse, namely with the distress at and the horror with the plastic that proliferate like weeds in the calmly flowing stream of time. She intends to show the pollution that, through thick and thin abets in the feel of cheapness. The cheapy feel in current living is there for all to see. The revolting can be sensed right in the pit our stomachs. How mindless have we not become, in our search for convenient, time-saving useful objects. However the artist is just and not merely attacking the very existence of synthetic polymers. In her note on her work she finds the plastic enormously enabling for a whole kind of human activity. She is right. However she also realizes that reckless commerce has not taken account of sundry sordid aspects of the material when marketing it. I would say such is its color or hue: Texture matters enormously even as you translate an old time earthen vessel from plain clay into plastic. So that only certain objects from the long past can be meaningfully cast into synthetics – I mean engagingly. The values of
utilitarian service, and those of the contemplative eye better not to be severed, else humanity sooner or later goes berserk. The former value or values are for our material well being, the latter for our emotional or spiritual one. Both better be yoked as a harmonious team.

In the painter's work, we notice an endless number of ingenious plastic products doing the rounds of the city in the hands of humbler seeming folk. By their toil the plastic object gets into the nook and corner of each Indian town and city, giving it a different tone and color than what the natural objects (like wood terracotta or stone) did. Also, even birds and beasts, then begin to take recourse to the cast away plastics to build nests, and beasts to tongue it, if not swallow it. Well, animals or birds in tête-à-tête with plastic objects certainly seem quaint. The flow of civilization changes even the non-human to some extent. These of the painter's works, then, have a bearing upon our future time on earth, and need to be mulled over by all its children. Her work helps give a better sense of proportion to these vital matters. She quickens our sensibilities in order that we hesitate to inflict upon others things that make us wince. It should reveal to us the value of moderation and the beauty of orderliness. By showing a dark aspect, she paradoxically restores our sense of experience that we endeavor to preserve. Only by thus highlighting the two sides of a coin do we become conscious, and then go on to alleviate dire poverty as well ensure our private delight. The artist obliquely instructs us, with the truths she imparts, even as she surprises us with the odd combination: of the mother earth born, along with those objects come of the human brain.

Keshav Malik
Fellow, Lalit Kala Academy

This Show will continue from 27 March to 31st March 2010

At: Open Palm Court Gallery, IHC, Loadhi Road, New Delhi

You reach me online at www.suchiart.com

It's all in one, watch silver jubilee photographs in this slide presentation

B.K. College of Arts & Crafts is now included in Odisha Govt. Portal as an imp. destination for turistsin Bhubaneswar

Great News!! Congratulations all B.K. Art college family members and well wishers, now B.K.

College of Arts & Crafts is now included in Odisha Govt. Portal as an imp. destination for turists.

B K College of Art and Crafts (10 km) The college offers higher studies in certain modes of art and craft including wood carving, palm leaf etching, stone sculpture, clay modelling,commercial art, graphic art, line drawing and painting. The college is located in Khandagiri area. It is affiliated to the Utkal University of Culture.Dhauli (9 km) Dhauli is a small hillock rising conspicuously on the southern bank of the river Daya, in the midst of green fields that seem to reach out to the horizon. This is the site where Ashoka waged the final battle against Kalinga in 261 BC. The victory came to him riding over a million corpses bringing him a macabre confirmationof his military prowess that had already earned him the sobriquet, Asoka the Slayer (Chandasoka). Legend has it that the gory sight of the battle with dead men chocking the flow of the Daya river (literally, the river of compassion) that had turned to be a river of blood, filled the heart of the conqueror with an hitherto unknown feeling of compassion and bouts of remorse. He realised the futility of digvijaya (military conquest) and the nobility of dharmavijaya (spiritual conquest). Thus Asoka the Slayer changed into Asoka the compassionate (Dharmasoka). He embraced Buddhism, it is believed, here, at the Dhauli foothill. This is the place where gory deeds were amended by hoary corrections.

SOURCE LINK: http://orissagov.nic.in/portal/ViewDetails.asp?vchglinkid=GL010&vchplinkid=PL066&vchslinkid=SL047

Hi BK products, Let’s Celebrate 25 years of Creative Journey at BKCAC campus. Hip hip Hurrah!

B.K.COLLEGE OF ART AND CRAFTS
In association with
ALUMINI BKCAC
celebrates 25 years of creative journey
from 20th January to 23rd January 2010
at the Campus AMPHI THEATRE,
Tapovan, Khandagiri, Bhubaneswar.

We cordially invite you to
the Inaugural Function as per programme. .

Dr.A.C.Sahoo
Principal
B.K.College of Art & Crafts, Bhubaneswar.

A detailed Programme Folder is enclosed.



www.bkartcollege.org bkartcollege@gmail.com / 06742384434 9861363802 / 9861067056 / 9437179881 / 9437196078 / 9937900663 / 9437270628 / 9668356837







SILVER JUBILEE CELEBRATION
PROGRAMME FOLDER
____________________________

20th January 2010, 11.00A.M.


Inauguration : National Camp of Students from
different Art College of the Country.

Chief Guest : Sri R.N.Kar, O.A.S.
Director, Culture
Government of Odisha

Guest of Honour : Sri Durga Prasad Das
President,
Odisha Lalit kala Akademi, Bhubaneswar.

Sudharma, Sailesh, Shakti Prasad, Jyoti Prakash, Arvind Tripathy, Dilip Kumar, Ritika, Amitesh, Sugaresh, Nilima, S.Medha Devi, Ajeeka, N. Ripon, Kamei Vikram, Ch. Denni, S. Samuel, Asish Saran, Pallvi, Binoy G., Aswini S., Shijeu R. V. Nair, Prabhu, Yubraj, Bensrajan, Jagdish, V. Bimaleswaran, Y.S.Wamgm,

The camp will conclude on 22nd January and the works will be displayed in an exhibition

Felicitation to teachers and staff members of the college
by the Honbl’e Chief Minister, Odisha


Dr. Dinanath Pathy
(Founder Principal, from 10.1.1984 to 14.9.1994)

2. Sri Siba Panigrahi
(Former Senior Lecturer, Department of Painting From 14.3.1984 to 28.2.2001)

3. Sri D.N.Rao
(Former Senior Lecturer, Department of Graphics – from 6.4.1984 to 9.5.2002
later promoted as Principal government College of Art and Crafts, Khallikote)

4. Sri Chandramani Biswal
(Former Principal, B.K. college of Art and Crafts. – from 15.9.1994 to
20.11.2000)

5. Sri Debaraj Sahoo
(Former Lecturer, Department of Sculpture – from 1.9.1986 to 31.8.1987)

6. Sri C.K. Samantray
(Former Lecturer, Department of Sculpture – from 23.5.1984 to 31.5.1985)

7. Dr.Alekh Charan Sahoo
(Principal, B.K. College of Art and Crafts from 21.11.2000 continuing)

8. Sri Baladev Prasad Moharatha
(Senior Lecturer, Department of Painting (Indian style) from 19.7.1984
continuing)

9. Sri Bymokesh Mohanty
(Former Senior Lecturer, Department of painting from 25.11.1987 to 23.12.2009
deputued as Secretary, Odisha Lalit Kala Akademi)

10. Sri Damodar Behera
(Senior lecturer, Department of Sculpture from 4.5.1988 to 18.12.2007
later officiated as Principal Government College of Art and Crafts, Khallikote)

11. Sri Jayanta Kumar Das ,
(Senior Lecturer, Department of Ceramics and Sculpture from 12.12.1986
continuing)

Sri Gajendra Kumar Padhi
(Senior Lecturer, Department of Applied Art. From 25.9.1991 continuing)

13. Sri Subrat Kumar Mullick
(Senior Lecturer, Department of Painting from 1.2.2006 continuing)

14. Sri Panchanan Sur
(Instructor in Applied Art, from 26.7.1986 to 31.3.1989 - on deputation to
B.K.College of Art and Crafts.)

15. Sri Binayak Behera
(Instructor in Sculpture, from 4.10.1985 to 15.7.1987 on deputation to B.K.
College of Art and Crafts from)

16. Srimati Sailabala Nayak
(Instructor, Department of Painting (Indian Style) from 5.7.1988 continuing)

17. Sri Gajendra Prasad Sahoo
(Instructor, Department of Graphic Art from 12.12.1986 continuing)

18. Sri Manas Ranjan Jena
(Instructor, Department of Painting from 22.8.1991 continuing)


19. Sri Meenaketan Pattnaik
(Instructor, Department of Applied Art & Design from 8.2.1999 continuing)

20. Sri Gagan Behari Mohanty
(Senior Clerk from 15.2.1984 continuing)

21. Sri Raj Kumar Subudhi
(Junior Clerk cum Typist from 02.2.1984 continuing)

22. Sri Ashok Kumar Das
(Class IV Staff from 1.8.1984 continuing)

23. Sri Bharat Chandra Mangaraj
(Class IV Staff class IV from 1.8.1984 continuing)

24. Sri Fakir Mohan Nayak
(Class IV Staff from 1.8.1984 continuing)

25. Srimati Renubala Nayak
(Class IV Staff from 3.8.1984 continuing)

26. Sri Bhubanananda Das
(Class IV Staff from 1.8.1984 continuing)

Sri Chandra Shekher Sethi
(Indigenous Craftsman of Government College of Art and Crafts,Khallikote now
working on deputation basis at B.K.College of Art & Crafts from 4.3.2004
continuting)

28. Sri Kanthamani Biswal
(Asst. Librarian, H.K. Mahatab State Library, now on deputation at
B.K. College of Arts and Crafts from 9.12.2005 continuing)

Sri Srikant Pati

Sri Subodh Kumar Parida

Sri C.D.R. Biswal

32. Smt. Sudhansubala Sahoo







22nd January, Friday, 2010



11A.M. : Hon’ble Chief Minister will plant a sappling
to mark the Silver Jubilee Celebrations.

11.05 A.M. - Invocation : Rosalina Dash, Student BKCAC

11.10A.M - Welcome Address : Dr.Mona Sharma,I.A.S.
Commissioner cum Secretary to Government,
Department of Culture,
Government of Odisha

11.20A.M.- Guest of Honour : Sri Debi Prasad Mishra,
Hon’ble Minister
Tourism ,Culture and Higher Education

11.30A.M. - Chief Speaker : Dr. Dinanath Pathy,
Founder Principal
B.K. College of Art and Crafts.

11.40A.M. - Chief Guest : Sri Naveen Patnaik
Hon’ble Chief Minister, Odisha
will inaugurate
the Annual Art Exhibition and
release the Annual Exhibition Catalogue
(Special Issue),
Alumni Exhibition Catalogue
Unspoken Truth,.
Lay the foundation stone
of the Women’s Hostel,
dedicate the Men’s Hostel and
felicitate the teachers and staff members
of the College.

11.50A.M. - Vote of thanks : Dr. A.C. Sahoo,
Principal, B.K.College of Art and Crafts.

12 Noon - The Hon’ble Chief Minister will visit the
Hostel site and Exhibition Gallery.



Symposium – 3pm to5pm

Topic – Creative Communication

Guests of Honour : Prof. Acharya Bhabananda
Prof. Deba P. Patnaik
Prof. Sourindra Barik
Prof. Ganeswar Mishra
Sri Sampad Mohapatra

Interactors : Dr. Anup Kumar Chand
Dr. Chakradhar Behera
Sri Durga Patnaik
Dr. Dilip Kumar Tripathy ( to preside)
Dr. Pradosh Mishra (to co-ordinate)

6pm. To 8pm

Performances : Ghuduki Recital
by Guru Nilakantha Tarai and troupe

Drama : Evolution of Art by the students of BKCAC
Script by Sri Suresh Balbantray
Direction by Sri B.P.Moharatha,
Sri Darpa Sethi, former student of
Chitram School of Art and Crafts,
Bhubaneswar

Stage Craft : Sri Sangram Maharana


23/1/2010
Morning Session
______________________________

9a.m. to 1.30 pm.

Theme: My Art, My College

Guests of Honour: Sri D.N.Rao
Sri Byomokesh Mohanty

Presenters: Sri Pratul Dash
Sri Bibhu Prasad Pattanaik
Smt. Pranati Panda
Sri Ashok Nayak
Sri Sambit Panda
Sri Sovan Kumar / Smt. Helen Bala Brahma
Sri Swasti Ranjan Ray
Sri ashis pahi
ANIMATION AND FILM MAKING=The new way of creative expression
1.introduction of animation--------- 5 mins
2.future prospects ---------------------5 mins
3.animation basics--------------------20 mins
4.different types of animation -----10 mins
5.animation film-------------------------30 mins


Afternoon session
________________

3pm. to 5pm.

Guests of Honour: Sri Siba Panigrahi
Sri Ramahari Jena

Presenters: Sri Anjan Kumar Sahoo
Sri Jaganath Panda
Sri Meenaketan Pattanaik
Sri Pratap Jena
Sri Chintamani Biswal
Kumari Sonia


5.30P.M. - Invocation : Ghuduki Guru Nilakantha Tarai and troupe.

5.40P.M. -Welcome Address: Dr. Mona Sharma, I.A.S.
Commissioner cum Secretary to Government,
Department of Culture, Odisha.

5.25P.M. - Guest of Honour : Prof. Ajit Keshari Ray,
Former Principal
Government College of Art and Crafts,
Khalikote.

5.35P.M.- Chief Speaker : Prof.Kanchan Chakraberti ,
Former Principal,
Kala Bhawan, Santiniketan.
5.45P.M.- Chief Guest : His Excellency Muralidhar Chadrakante Bhandare
Governor, Odisha
will release the Silver Jubilee special issue of
“Chitra”, a Journal of Art and Aesthetics,
and felicitate the former Students of the College.

5.55P.M.-Vote of Thanks : Dr. A.C. Sahoo,
Principal, B.K.College of Art and Crafts.

6 to 8pm. Performances : Sitar Recital
Sri Pratap Ray
Odissi Vocal
Dr. Sangeeta Gosain Mohapatra
Flute Recital
Sri Srinivas Satpathy
Sakhinata Nacha
Guru Santosh Padhi and troupe
Folk group from Mahanala, Sanakhemandi

Renewed Intensity
A Public Art & Site-specific art Workshop by artists

The schedule:
20-27 January 2010 Workshop
11 am to 6 pm

26-27 January 2010 Public Interaction
11 am to 8 pm

24 January 2010 Artist Presentation by participating artists
Initiator: Dr. Pradosh Mishra
Chief Guest: Prof, Deba Patnaik and Dr. Dinanath Pathy 5 pm

26 January 2010
Previw5.30pm

Curated by Jagannath Panda

Venue:
Rashtriya Lalit Kala Kendra, Kharavela Nagar, Unit-III, Bhubaneswar
Coordinators: Anjan Shaoo,Veejayant Dash, Pradosh Mishra,
Ashok Nayak, Sudershan Biswal

Deepak Harichandan, Design Editor of The New Indian Express, Chennai a proud AlumniBKCAC

Infographics trends in India

Well executed Information Graphics are pleasent surprises in the media. They illustrate information that would be unwieldy in text form, and act as a visual shorthand for everyday concepts such as stop and go. In newspapers, infographics are not only used to show the weather but also for many live events.

Flying Rambo is one such infographics appeared in The New Indian Express daily newspaper from Chennai, India. Deepak Harichandan, Design Editor of The New Indian Express, Chennai worked on it with care and confidence. Now you enjoy it. 

"The Action of Nowhere," builds on the idea he has been constantly exploring - the unfolding and spreading of new forms of urbanism

'Fatal-Sublime', 2009
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
London

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.