• ‘Curation As Praxis: Dialogues, Identities and Movements’ | Baroda, India

    First-year Master student Sarika Kumari, from Jamalpur, Bihar, India, recently participated in the exhibition of the final year MA students of the Department of Art History at Maharaja Sayajirao University of Baroda, which revolved around the significance of curation and collaboration.

    “Curation As Praxis: Dialogues, Identities and Movements” is an exhibition of researched materials, archival data and visual references inspired by the dissertation topics of the final year Masters students of the Art History Department. The exhibition explores a variety of topics, addressing issues of traditional Indian art and ancient architecture as well as contemporary art and art practices.

    At the culmination of a two-week intensive workshop, after two semesters of study, this exhibition was a collaborative curation effort between first and second year students in the MA program. Rahul Bhattacharya, the leader of the class and workshop, mentored the students on the theoretical and practical aspects of art curating.

    “The first module focused on exploring the tentative dissertation topics of the second year Masters students, which became the foundation of their curatorial proposals. The emphasis was on generating a body of curatorial texts, which would become the frameworks for the final exhibition. Simultaneously, the students were introduced to the theoretical aspects of curation, the various types of curation and their relevant methodologies.
    “The second module … focused on the practical aspects of curation. The students engaged in designing and building a display for the culminating group show. At the commencement of the second module, the students exchanged their curatorial materials [with different groups] with the notion that the display would benefit from a fresh and objective pair of eyes. Each curator brought their own approach to dealing with the research material and curatorial obstacles, to create a visual representation of the idea.” (from the “Curation as Praxis” blog, http://curationaspraxis.blogspot.in)

    Eleven curatorial projects in total were researched and presented in the exhibition. Here are some of their titles: ‘Reconstructing the Baroda sculptures with new form and material’, ‘Unfinished pre-imperial Rashtrakuta structures’, ‘Materiality and everydayness in the works of Partha Pratim Deb’, ‘Arts and Crafts movement’, ‘Enquiries into the shifting paradigms of Chahar-Bagh’.

    To read more about them click here: http://curationaspraxis.blogspot.in

    The exhibition was held at the Faculty of Fine Arts Exhibition Hall, Maharaja Sayajirao University, on the 20th and 21st of February, 2017.

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    Click on any image in this post to enlarge it.

     

     

     

     

     

     

  • ‘Purgation’ by Fariha Rashid | Lahore, Pakistan

    ‘PURGATION’ is a solo exhibition of intimate, introspective miniature paintings by Pakistani artist Fariha Rashid, who employs a personal symbology to deal with emotionally charged memories. It opened December 20th, 2016 at the Art Scene Gallery in Clifton, Karachi, Pakistan.

     

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    I refer to my artwork as symbolic, and each of the symbols I use has its own meaning to justify the subject matter. Yet the number of symbols is limited, since I look for simplicity in the life which inspires me to paint.

    When one observes my miniatures closely, one can see that leaves and ropes are the main symbols I use.

    Leaves represent hope, revival and growth, but if dead leaves are painted, they will be regarded as signifying despair and hopelessness.

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    The day of the inauguration

    Ropes on a broader scale refer to knowledge, but the color differentiates their various meanings. In some of the paintings one can see white ropes, which represents a positive type of knowledge, but in other images some black areas in the ropes are left empty, signifying black magic and dark wisdom. Both of them have played an important role in my life, leading to some incidents which now induce me to paint them in order to let out the anger that they have caused.

    All of my art pieces are painted on a black base, to show the darkness inside, but creating imagery out of that darkness is the actual task. Hoping and wishing that all that darkness is not permanent requires a big effort to battle with oneself.

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    Review of 'Purgation' in 'The Express Tribune: Karachi'

    Thus on the whole my artworks are based on the expression of inner feelings, anger, aggression, and love. I experience all these emotions very strongly in regard to various events in my life, and they compel me to paint and represent them.

    It won't be wrong to also name ‘Catharsis’ this series of miniatures, since in them I give expression to what is inside me, and expressing it has a liberating effect. The voices inside my head don't let me sleep. They are like a film that every night replay in my mind all the events that hurt me and that I detest, that are just the opposite of those events which I wish would happen, opposite to self-developed memories, to the happiness that my own mind creates.

    The compositions in my works are not visually chaotic; most of the paintings I create offer on the contrary a very calm imagery, expressing what I want to feel, and how at the same time I wish to get rid of all the anger and hatred that have built up inside me.

    Click here to see the whole series of miniatures.

     

     

     

  • ‘Black/White Series’ | Cape Town, South Africa

    Johannesburg artist Lawrence T Jadezweni, along with friend Sakhile 'Sax' Marvis, has created a collaborative project that through photographs explore each other's perspectives during a trip to Cape Town.

     

    The Black/White Series

     

    This is a series of photographs, taken from a cellular phone, which portray the collaborative visual endeavour during a one week trip taken by Lawrence T Jadezweni and Sakhile 'Sax' Marvis in the city and outer regions of Cape Town.

    What makes this series of images unique is the fact that each of us had his own visual interpretation of the other, yet the similarities between the images contextualize the overall journey here represented. The experimental features within the edit style in each image are meant to create a certain texture and evoke emotions that resonate with each individual viewer.

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    Wale Street consists of five images taken within the city of Cape Town upon our arrival inside the high walls and feeling surrounded by the extravagant architecture presented to us. Looking back I think of the overwhelming feeling of excitement as well as anxiety.

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    The Realm, in essence, is about our transitional phase, when we begin to engage with the city and what it had to offer. By this time we had entered Gordons Bay where we were to live for a period of time.

    I tried to blend in some of the images together in a signature style and also a mixture of tonalities and colour for some of the images, attempting to create a deeper story and mood.

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    To see all the photographs go to the Series page, here.

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    Bucket List represents the third and final sequel in a three-part photo-series. The subjects (us) are here fully immersed in their surroundings, embracing the full spectra of the city. This is why the series has been created as an audio-visual installation.

    https://youtu.be/HfYR6HxarX0

    Photo Cred: Lawrence & Sax
    Edited By: Lawrence
    Music Composed By: Oracle (Jazz Orchestra)
  • AGRIshelter: A biodegradable shelter for refugees | Milan, Italy

    A project designed by Narges Mofarahian, an Iranian student of Architecture at Politecnico University, Milan, Italy, which won the international competition "What Design Can Do".

    The prototype was built by students and refugees by the Ticino River, a few miles from the city.

     

    10(3)The project for a temporary, biodegradable housing

     

    “During the Spring and Summer 2016 thousands of refugees arrived each day in European countries. Due to their great number they don’t receive a dignified place to live during the period they are waiting for asylum, and the wait can last for years.

    Screen Shot 2016-12-16 at 4.04.12 PM copyThe problem in the reception centers is that they are overcrowded places, with little chance for social integration, no identity, lack of privacy and a feeling of not belonging, all factors which lead to tensions inside the centers and many further negative consequences.

    The isolation of the reception centers is another problem that makes integration much harder, and causes great tensions which could end in strong negative reactions from both groups (the refugees and the population of the hosting cities) as a result of ghettoizing one group out of mainstream society.

    The ‘Agrishelte’r is a dignified, cheap, biodegradable home, with excellent thermal performance, and it can be built in a short time to last 3-5 years. It also creates integration through the methods of collective construction, gardening and market.

    Screen Shot 2016-12-16 at 4.04.20 PM copyBuilding the agrishelters inside the hosting cities is another positive aspect, because it prevents the formation of isolated, ghetto like camps. The materials used to build the shelters are all biodegradable, and they can be easily demolished with no negative impact on the land. We believe that this is a very important aspect, that can make a more convincing case when asking the authorities for land inside the city, because that land it will be occupied temporarily.

    My experience in building the first prototype was extremely positive. Beside the technical aspects, which seemed to work well, I witnessed the social interaction between all the team members, students and refugees, while working together, trying to know about each other’s languages and cultures, and just enjoying the collaboration and having a great time. It also seemed very interesting to the participating refugees that the flexibility of the design would allow them to contribute with small interventions and changes in building the shelter according to their tastes.

    Screen Shot 2016-12-16 at 4.04.02 PM copyAnother great experience was that the people in the neighborhood seemed curious and excited about what we were doing, and even tried to contribute to the project in different ways.” (Narges Mofarahian)

    The project won the international competition "What Design Can Do", devoted to the question of refugees and co-sponsored by IKEA and UNHRC (United Nations Human Rights Council).

    A small prototype of the shelter (3 by 3 metres, as opposed to the 5 by 7 metres, with kitchen and toilet, of the designed project) was built last October by a group of students of the Politecnico University and a group of refugees. The first real prototype will be built and presented to the public in downtown Milan.

    Coordinators: Richard Ingersoll (Politecnico), Elisa Cattaneo (Politecnico) and Davide Biolghini.  Assistant: Filippo Cattapan. Students: Wenjun Zeng, Shreyaa Jaya, Giulia Crotti, Nicolò Croce, Thesu v. Gowda, Yuanxiang Chen. Refugees: Espoire, Adamo, Musa, Balu.

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    agri shelter effect

     

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