Events

Punjab Lalit Kala Akademi

Invites you to

‘In the Light of Afterglow’

an online Discussion on

Yokohama Triennale 2020: ‘Afterglow’

with Artistic Directors - Raqs Media Collective:

Jeebesh Bagchi, Monica Narula, Shuddhabrata Sengupta - India

and some of the artists and members of the 'Discursive Justice Ensemble'.

Amol Patil – India

Asako Iwama – Japan

Ivana Franke – Croatia/Germany

Kabelo Malatsie – South Africa

Lantian Xie – China/Dubai

Masaru Iwai –Japan

Naeem  Mohaiemen – Bangladesh/USA

Renuka Rajiv – India

Yoi Kawakubo – Japan/UK

Moderator: Diwan Manna

7^th August 2020 at 5.00 pm IST I 1.30 JST I 8.30 CET

A Live Stream session

On YouTube Channel:

PLKA LIVE STREAM 

https://www.youtube.com/channel/UC2bl05Ep5KRhZRMolv6t7qw

The Yokohama Triennale 2020: ‘Afterglow’, opened to the public on the 17th of July.

It is the first major international art event to open since the world began dealing with the COVID 19 pandemic. How does the Yokohama Triennale 2020 affirm the role of art at a difficult time for the world? In what way does the triennale, and the curatorial vision of Raqs Media Collective speak to this time, and think beyond it? What are the different artistic practices and processes that this triennale presents and proposes? How does Afterglow illuminate time, space and the will to live and learn?

These are some of the questions that this conversation will attend to. Do share the information, and attend. It promises to be a lively exchange.

Raqs Media Collective/ India, was formed in 1992 by Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. The word “raqs” in several languages denotes an intensification of awareness and presence attained by whirling, turning, being in a state of revolution. Raqs Media Collective take this sense to mean 'kinetic contemplation' and a restless and energetic entanglement with the world, and with time. Raqs Media Collective practices across several forms and media; it makes art, produces performances, writes, curates exhibitions, and occupies a unique position at the intersection of contemporary art, philosophical speculation and historical enquiry. The members of Raqs Media Collective live and work in Delhi, India. In 2001, they co-founded the Sarai program at CSDS New Delhi and ran it for a decade, where they also edited the Sarai Reader series.

Amol K Patil / India, (b.1987) is a conceptual and performance artist. His artwork attempts to recapture the vibrating movement and sound of the 'chawl' architecture, a form of five storey social housing for mill and factory workers, in which he grew up. His work draws inspiration from the objects he found in old cupboards of his house-an old dicta tape recorder, a Walkman and cassettes with sounds and immigrant dialects his father must have recorded for his avant-garde theatre scripts about the dilemma of living as a migrant within the city, performed within the industrial mill areas of Bombay, handwritten songs of protest against cast system and for Independence movement of India by his poet grandfather.

Asako Iwama / Japan, born in 1975, Tokyo, lives and works in Berlin and Tokyo. Her background as both cook and artist has led Asako Iwama to organize a number of experimental workshops and field trips that explore the social dimensions of eating. Her more recent practice further investigates historical and technological shifts in relationships between natural elements and the body as material and subjectivity through physical engagement, including (re) modelling, sampling, tracing, and research.

Ivana Franke / Croatia-Germany, is a visual artist based in Berlin. Her works, often in a form of light installations investigate the limits of our visual and spatial perception. She employs complex geometric structures and light to create phenomena that often appear ephemeral, ambiguous, puzzling or 'mysterious'.

Kabelo Malatsie / South Africa is a curator and organizer. She was a director of the Visual Arts Network of South Africa from 2018 to 2019. Her ongoing curatorial research project explores the exhibitionary mode as unlikely starting points that place incongruous practices together, to instigate other ways of making and reading the world we inhabit. As an organizer, she is preoccupied with the notion of autonomy, specifically "temporary autonomous zones" within the African context.

Lantian Xie / China-Dubai makes images, objects, stories, jazz bands, motorcycles, books, and parties. Previous exhibitions include 57th Venice Biennial, 11th Shanghai Biennial, 3rd Kochi-Muziris Biennial, 14^th Sharjah Biennial.

Masaru Iwai / Japan, b. 1975 Kyoto. Tokyo based Iwai's works are developed through a process of “participatory creation” as he takes part in the tasks of people's everyday lives, his film, installation and performance focus on the mundane act of cleaning and cleansing that would reveal its underlying social and symbolic meanings. In one of the “Episodō” series in the Triennale, Iwai conducts discussions with the audience and takes actions in response to the cleaning work in the exhibition space and each own space, based on his experiences as a decontamination worker in Fukushima. He participated in the "Reborn-Art Festival" in Miyagi in 2017 and “New Artists Today Exhibition 2018 Unfixed Perspectives” at the Yokohama Civic Art Gallery in 2018. "Perspective of Familiarity," Takuro Someya Contemporary Art, Tokyo in 2017 "Maintenance Required," The Kitchen, New York in 2013.

Naeem Mohaiemen / Bangladesh-USA, imagines rhizomatic families, malleable borders, and socialist utopias– beginning from Bangladesh’s two postcolonial markers (1947, 1971) and then radiating outward to unlikely transnational alliances. The idea of a future global left, against current categories of race and religion, drives the work. He is author of Midnight’s Third Child  (Nokta, forthcoming) and Prisoners of ShothikItihash (Kunsthalle Basel, 2014); editor of Chittagong Hill Tracts in the Blind Spot of Bangladesh Nationalism (Drishtipat, 2010); and co-editor w/ Eszter Szakacs of Solidarity Must be Defended (Tranzit, forthcoming) and w/ Lorenzo Fusi of System Error: War is a Force that Gives us Meaning (Sylvana, 2007).

Renuka Rajiv / India, is interested in working with paper and fabric primarily and has worked across the mediums of artist books, zines, animation, paper-mache, portraiture, stitching and soft sculpture. A Bangalore based artist, Renuka did a diploma in Digital Video Production from Srishti School of Design, Bangalore, India (2007) and a Bachelor of Fine Art, Printmaking from VCA, Melbourne (2010). Her solos include – Life as a Solo, Handheld Gallery, Melbourne (2013); Wild Fermentation, Brunswick Artspace, Melbourne (2013); Static/Problematic, G159, Bangalore (2015). She was artist in residence at CONA, Mumbai funded by INLAKS Shivadasani Foundation (2014), She is a recipient of FICA Emerging Artist Award 2016 with a ninety day studio-residency in Switzerland in 2017.

Yoi Kawakubo / Japan-UK, creates photographs, moving images and sound installations. In his spatial installations, he conveys a critical message based on historical research of the exhibition site and references to literature, all interconnected through his past experiences and personal history, intertwined with economic, social and sometimes philosophical reflections. Spanish born Japanese artist based in London & Tokyo, he turned to artistic practice after receiving his degree in applied neuroscience and subsequently working as a financial trader. Some of his recurring topics are examinations on the nature of finances, nuclear power, genetics or land property. These questions are all neatly grounded on fundamental questions of philosophical nature such as the ontology of human identity, consciousness or reflections on the limits of representation.

Diwan Manna / India (Moderator of the discussion),  creates photography based artworks combining images with objects, moving within a consciously chosen space in order to create a multimedia reality. His work revolves around socio-cultural and socio-political concerns, in which he depicts the collapse of human sensitivities in the face of violence, turbulence, hypocrisy, alienation, dehumanization, war and death, trying to come to terms with the insidious and unrecognized forms of degradation of our sense of life and honour within ourselves as well as in others. He has served as Director Triennale India, Chairperson Chandigarh Lalit Kala Akademi and at present he is President Punjab Lalit Kala Akademi. His solo shows include, Museum of Asian Art, Berlin 2000, Gallery Bateau Lavoir 2000, Paris, Visual Arts Gallery, New Delhi 2007.

POSTPONED- Inconvenience regretted

Down MEMORY LANE

KRISHEN KHANNA

Reminiscing about his friend

AKBAR PADAMSEE

The painter (1928-2020)

Live Streaming by

Punjab Lalit Kala Akademi

Host: Diwan Manna 

Saturday  6th June 2020

5.30 PM

Watch Live at

YouTube Channel: PLKA LIVE STREAM 

To watch this live streaming please click on the link given below. It will navigate you to the YouTube Channel of Punjab Lalit Kala Akademi : PLKA LIVE STREAM. Then click on the Talk being streamed live.

https://www.youtube.com/channel/UC2bl05Ep5KRhZRMolv6t7qw

In this series of talks "Down Memory Lane" Krishen Khanna will be sharing his memories of Satish Gujral, Ram Kumar, M F Husain, Tyeb Mehta, Bal Chhabda, Mohan Samant, Harkishan Lall, Prannath Mago, V S Gaitonde and some of his other artist friends in the coming few weeks.

Organised by:

Punjab Lalit Kala Akademi

To view live streaming of the discussion

https://www.youtube.com/channel/UC2bl05Ep5KRhZRMolv6t7qw

Satish Gujral

25.12.1925 - 26.03.2020

Born in Jhelum in pre-Partition west Punjab, trained at the Mayo School of Art, Lahore and, later, in 1944-47 at Sir J. J. School of Art in Bombay, Satish Gujral has won international recognition over the years for his versatile creativity that runs through his varied expressions in painting, graphics, murals, sculpture and architecture. The turbulence of the early years – the illness which affected his hearing and the trauma of the country’s Partition – had a deep impact on Gujral’s artistic expression. Though Gujral came into contact with the Progressive Artists’ Group, he found it difficult to reconcile with their techniques, and began a search for a modernism that was deeply rooted in the Indian tradition.

A trip to Mexico on a scholarship and interactions with Diego Riviera inspired his art practice, influencing it heavily with the subject of human suffering which resonated with the artist’s personal experience of Partition. 1952-74 saw Satish Gujral organising solo shows of his sculptures, paintings and graphics across the globe. Since the late Eighties, his paintings and sculptures have shown a greater expansion, both in terms of materials as well as content. The artist began creating large-scale murals, mostly in mosaic and ceramic tiles. Later, the tiles were overtaken by machined steel elements. Gujral’s sculptures in burnt wood come across as visceral exposure of human and other forms.

Widely collected in India and abroad, Satish Gujral has received numerous awards including the da Vinci Award for lifetime achievement from Mexico, honours from the Lalit Kala Akademi, and a Padma Vibhushan from the Government of India.