It's a busy weekend with art, theatre and good food
The Raza Foundation, in association with the Progressive Art Gallery and Triveni Kala Sangam, is presenting a group show, Jangarh Kalam from Patangarh Continued. It features around 200 works by over 50 traditional artists from across Madhya Pradesh and spotlights a significant cultural movement in Indian indigenous art. 'At its core, it is a living homage to the late Jangarh Singh Shyam, a visionary artist, who revolutionised the course of Gond painting, bringing its traditional forms into a new idiom, recognised across the world as the 'Jangarh Kalam',' states the curatorial note. At Triveni Kala Sangam, New Delhi, till 10 July, 11am-7pm. An image of flat rishas.
The Registry of Sarees, a research and study centre, in collaboration with The Marg Foundation, is presenting Revisiting The Risha: The Identity of Self and Community, a show that explores the identity of self and community through the lens of the risha, a narrow, unstitched breast cloth wrapped around the upper body by the tribal women of Tripura. At The Registry of Sarees, Domlur, Bengaluru, till 13 July, 10.30am-5.30pm (closed on Mondays). For details, visit www.theregistryofsarees.com. Kootu Curry is on the menu at JW Marriott Bengaluru's Malabar Moplah Festival.
Dig into the cuisine of Kerala's Malabar coast with a curated menu at the Malabar Moplah Festival that highlights the Mappila (Moplah) community's culinary heritage. Helmed by chef Anil K. Varickattu, the food pop-up offers dishes like Koon Ulli Thiyal and Kootu Curry, and desserts such as Pazham Pradhaman, made with ripe bananas and jaggery, and Ambalapuzha Payassam, a creamy rice pudding. At Spice Terrace, JW Marriott Hotel, KG Halli, Shanthala Nagar, Bengaluru, till 13 July, 7-11pm. For details, call 8884675454. A still from 'Hum Dono'.
Written by Dinesh Thakur, Hindi play Hum Dono is inspired by Arbuzov's original Russian comedy, Old World. It revolves around two elderly strangers who are finding ways to live life to the fullest. At Godrej Dance Theatre, National Centre for Performing Arts (NCPA), NCPA Marg, Nariman Point, Mumbai, 6 July, 6.30pm. For details, visit www.ncpamumbai.com. Audience at The Real Van Gogh Immersive Experience.
This month, the travelling exhibition, The Real Van Gogh Immersive Experience, makes a pitstop in Bengaluru. Viewers will get to see a specially-curated line-up of 70 captivating artworks from Van Gogh's extraordinary repertoire including Starry Night, Sunflowers, and Wheatfield with Crows. Curated and animated by visual artists Hemali Vadalia and Naveen Boktapa of Motionvan Studio, the exhibition, thanks to it's large screens and 22,000 lumen projection – 'being used for the first time in India' as per the press note – promises to be an unparalleled visual spectacle where every brushstroke and colour in the paintings is illuminated with clarity. The exhibition is presented by The Silly Fellows in collaboration with music entrepreneurs Nikhil Chinapa and Jay Punjabi. At Bhartiya Mall Of Bengaluru, Bhartiya City, till 13 July, 10am onwards. For details, visit district.in.
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India Today
21-07-2025
- India Today
In Gond art, nature is left, right and centre. Tribal youth are taking it global
The Jangarh Kalam exhibition at Triveni Kala Sangam in New Delhi, centred around Gond art, was saying a lot without using words. There was no text, but the artistic voice was loud and clear. The paintings on display elicited the same emotion; they had the same message: we need to reimagine how we think about wasn't a crowded exhibition hall. But what those frames on the walls, with their bold strokes, minute dots, and vibrant contrasts were saying, was nothing short of a quiet revolution. It was a voice -- perhaps many voices -- telling us what we had stopped hearing long ago: the voice of the forest, the trees, the birds, the was the work of Gond artists, a tribal community that paints not just to express beauty, but to preserve memory. And it all started with a name most wouldn't find in textbooks, Jangarh Singh Shyam -- back in the 1980s. Jangarh Singh Shyam is credited by art critic Udayan Vajpeyi as the founder of a new style of Indian painting, which he calls the 'Jangarh Kalam'. His work often features Gond deities such as Thakur Dev, Bada Deo, and Kalsahin these spiritual figures, Jangarh also painted animals -- tigers, deer, turtles, and crocodiles -- using a distinct cutout-like style that became a hallmark of his the year 1989, his art was displayed in the Pompidou Centre's Magiciens de la Terre (Magicians of Earth) exhibition in started without canvas or even brushes. He just started to paint what he saw: trees, animals, rituals, spirits of the forest. He painted to document a life so deeply interwoven with nature that you couldn't separate one from the other. Gond art doesn't decorate, it remembers. In the heart of the forest and the flow of the river, the goddess rides not just the crocodile, but the memory of her people, painted leaf by leaf, scale by scale. 'The inspiration of one man is now helping thousands of others. The work of Jangarh Singh came as a light for the tribal community of the region, and now these youngsters are not only carrying the legacy forward but also have a means to earn a livelihood,' said RN Singh, Founder and Managing Director of Progressive Art painting in the exhibition had a passionate aura that drew you closer. One canvas showed a goddess riding a crocodile under a tree full of birds and monkeys, life in full motion, life in balance. Another captured women dancing in a circle, tied together in rhythm and labour. Nothing fancy. Just stories we forgot to tell ourselves. Women dancing in a circle, tied together in rhythm and labour. The painting that was the most awe-inspiring was of a tree, with branches wide like arms stretched out before an embrace. Beneath it, deer grazed. Birds rested. Elephants was no human in sight, yet humanity could be felt everywhere. That tree wasn't just a tree. It was shelter for thousands out there in the artists whose work was displayed in the capital city of India, some less than 22 years of age, didn't speak much. They didn't need to. Their dots, lines, brushstrokes did all the the irony struck: those who live closest to the earth speak of it the least, but understand it the often chase retreats to mountains or beaches to "disconnect," to "find peace." But what if peace isn't a destination? What if it's in these paintings that hang quietly on beige walls, away from malls and noise? Art that doesn't of these artists, like Rahul Shyam, Ram Kumar Shyam, Sunil Shyam, and others whose work was witnessed during the exhibition, come from villages where resources are scarce but imagination overflows. They paint from memory. They paint because that's how they archive them, nature isn't a weekend getaway. It's a mother, a witness, a god, a artwork showed a lion with a human face, trees bursting into patterns, women drawing water. Each frame felt like it was another masterpiece, a bird nested in a tree within a goat's back. Maybe the artist was trying to say that all life shelters were no labels screaming 'Masterpiece'. No artist's statement in titles, sizes, and the names, some I'd never heard before, but now won't forget. A striking Gond artwork blending myth and nature, an elephant-tiger hybrid surrounded by village life, trees, and birds, capturing the deep connection between tribal imagination and the living landscape. advertisementAnd here lies the beauty of what Gond art does, it tells us that we're not above nature, we're part of it. When the earth breathes, we do. When it hurts, we many of us, nature is something to visit. For them, it is home. These paintings, beyond being art, are letters from someone leaving the exhibition hall carried a certain silence in their mind.A young visitor shared her experience: 'I don't know, but this place and all these paintings hit hard. The way they've been painted is a masterclass. We may be living our lives in the city, but these artists, who put everything around them onto the canvas, are the ones truly enjoying it.'You don't need to travel to forests to hear these artists. You can stand in a white-walled room in the heart of a city and listen, if you choose exhibition was held at Triveni Kala Sangam, New Delhi from June 30 to July 10, 2025, from 9:00 am to 7:00 pm.- Ends advertisement
The Hindu
17-07-2025
- The Hindu
Satadru Sovan Banduri's solo show in Hyderabad focuses on biodiversity facing existential threat
A peacock with a disoriented gaze, a blue poison dart frog from the Amazon struggling to reproduce, and migratory birds and blossoms disrupted by shifting climate patterns — Satadru Sovan Banduri's acrylic and gouache paintings, on display in Hyderabad, strike a deeply emotional chord. In his ongoing exhibition Disappearing Echoes of the Isolated at Kalakriti Art Gallery, the artist turns his gaze to biodiversity under threat. His evocative works explore environmental concerns such as rising sea levels, tectonic shifts, tsunamis, and the silent extinction of flora and fauna, all underscoring the fragility of ecological systems. Peacock loses home 'Imagine losing a place that once belonged to you,' says Satadru Sovan Banduri, referring to a painting of India's national bird — the blue peacock. In Echoes from the Displaced, a peacock stands silenced and confused atop a cold stone. Its familiar habitat and fellow birds are missing, replaced by fragmented flora and unfamiliar fungal growths. The work is Sovan's artistic response to the ecologically sensitive Kanche–Gachibowli land conflict in Hyderabad. Once a thriving natural space teeming with deer and peacocks, the 400-acre stretch was recently in the news due to controversial deforestation efforts undertaken without proper environmental assessment. A Public Interest Litigation filed by concerned citizens and the intervention of the Supreme Court halted halt the land's auction. In another painting, a deer stands surrounded by bulldozers, trying to navigate its sense of displacement, while a peacock circles aimlessly, searching for its nest. 'Animals carry the scars of bulldozers — but we simply don't care,' the artist notes. Looking for new teritory In one striking image, aquatic animals like jellyfish and crabs — displaced by rapidly altering marine ecosystems — are seen soaring skyward, perhaps towards Mars or the moon, in search of a new place to survive. T Meanwhile, another work titled Makeshift Planet Will Host Us shifts focus to the South Pole, specifically Antarctica, home to some of the planet's most iconic and vulnerable species. 'Penguins, especially the emperor penguin, are unique to this region,' says Satadru Sovan Banduri. Sharing the frame are Weddell and leopard seals, various whale species such as orcas and humpbacks, and seabirds like albatrosses and skuas, all seemingly hoping for a temporary replacement for their vanishing home. With over two decades of experience in the arts, Satadru Sovan Banduri began his journey as an animation designer. Trained in gouache and tempera techniques at the Bengal School of Art, and later as a Fulbright Scholar at the University of California where he studied new media, Sovan seamlessly blends the tactile with the technological. 'I work on an unset canvas on the floor,' he says, describing his layered, immersive approach. His process begins with poetry, followed by ecological research. The composition is first laid out digitally, then transferred to canvas and brought to life with colour. To frame his paintings, a carpenter constructs sculptural, uneven borders, giving the works a three-dimensional quality. These irregular edges also carry meaning: 'The maps are changing every day because of global warming,' he says. 'So my works have no fixed shape.' The real challenge, says the artist, was capturing the emotional weight of what the animals are going through. 'I had to represent their voice,' he explains, 'so that viewers could hear their howls.' Disappearing Echoes of the Isolated' at Kalakriti Art Gallery is on till August 5. His acrylic with gouache paintings depict displacement and environmental concerns
The Print
13-07-2025
- The Print
Artist dedicates exhibition to Operation Sindoor, uses vermilion on canvas
Titled 'Himalaya: The Journey Through a Cascade of Colours', the show opened at a gallery at the Triveni Kala Sangam here on Saturday evening. The exhibition celebrates the might and grandeur of the Himalayas through varying seasons, but it is also dedicated to India's Operation Sindoor, a decisive military action that has drawn a new red line for terrorism. New Delhi, Jul 13 (PTI) The centrepiece of artist Chandranath Das's solo exhibition in Delhi is an untitled oil painting — bright, colourful canvas, countless brush strokes and a dash of actual vermilion to depict a stroke of 'sindoor'. The untitled work captioned 'Operation Sindoor: A Tribute – The Red Mark of Duty' sits at the focal point of the exhibition venue, welcoming visitors with its abstract allure. On its back is a huge canvas with Mt Everest painted on acrylic medium. The placement of the pieces — on either face of the same wall — dedicated to the military operation in May and the timeless appeal of the world's highest peak is not accidental. Das says they both represent courage and are symbols of India's defenders. 'This exhibition is dedicated to Operation Sindoor and to the women and men of our defence forces, whose unwavering commitment, especially in the face of recent adversity, stands as a reminder of our nation's courage, strength and unity,' reads the caption for the central artwork. Born in Kolkata in 1962, the artist said he has spent the last three decades in the vicinity of the Himalayas. 'So, my paintings capture the essence of the Himalayas. The strength of the Himalayas, and the strength that our soldiers are carrying, is the main theme of the painting that I have dedicated to Operation Sindoor,' he told PTI on the sidelines of the opening ceremony. Das, who holds a bachelor's degree in fine arts and a master's degree in museum studies, considers that he belongs to both areas. He previously served as the chief curator of the Himalayan Mountaineering Institute in Darjeeling, which falls under the purview of the Ministry of Defence. 'Our soldiers are posted in harsh conditions in mountainous regions, in Siachen Glacier area, it is their dedication in guarding the nation and being ready to sacrifice their lives. So, this is my tribute,' he said. On the use of vermillion in his main artwork, Das said, 'Yes, I have used actual 'sindoor' to depict 'sindoor' in the painting. If one looks closely, one can see a woman's head, and the stroke of the 'sindoor' is on her forehead area. It is a symbolic use.' About 50 artworks, ranging in size from small canvases depicting Yaks to a large triptych showcasing the Himalayan landscape in Darjeeling and Mt Kanchenjunga, are on display till July 22. The artworks are based on three mediums — charcoal, acrylic and oil, and have three themes — Sacred Himalayas, Yaks and Himalayan Seasons, said Chandrima Das, curator of the exhibition and the artist's daughter. Most of the paintings were made in the last five years, including the one titled 'DHR in Monsoon' depicting in acrylic medium the world heritage Darjeeling Himalayan Railway (DHR) with a steam engine ejecting a long plume of smoke passing through a landscape. 'Every season presents different colours; monsoon season has a different colour in Darjeeling. So, I have tried to capture it,' the artist said. Prof. Ummu Salma Bava, Chairperson and Jean Monnet Chair at Centre for European Studies, School of International Studies, JNU, was among the guests who attended the opening ceremony. 'The exhibition is an outstanding collection of arts, the Himalayas, the paintings take us through the landscape, it (the Himalayas) is a natural frontier,' she said. She appreciated that the exhibition was dedicated to Operation Sindoor. Bava said since her father was in the Army, she grew up with the sentiment of what it means to protect the country. The dedication to Operation Sindoor, she said has multiple meanings and 'this is going to be the most important pivot point at this point for India in its foreign policy, and one can already see its impact.' 'And, the painting and its different mediums also capture the essence, the emotions of what we went through and what happened. It is wonderful to also remember what sindoor stands for: it is courage through resilience, and to never give up, the colour of red and orange and yellow, are all the colours we see around us, every day, flowers, the gentle soft sides,' Bava told PTI. But the paintings also speak to you about the courage of the soldiers, courage of farmers, and of everybody else, she said. The exhibition is being hosted over two months after Operation Sindoor which was carried out in retaliation for the April 22 Pahalgam terror strike. 'The journey from the Pahalgam attack till today is of pain, extreme sadness with a sense of loss. That is a day we will not forget, and it's a day that has also transformed our foreign policy and how we look at things, and India has drawn new red lines (for terrorism),' she said. 'The name sindoor will not just mean putting a tika (mark) on your forehead, anymore. It is a power of action. Sindoor should have its own entry in a dictionary,' the JNU professor said. PTI KND SKY SKY This report is auto-generated from PTI news service. ThePrint holds no responsibility for its content.
