Events

Sudarshan Shetty, Bose Krishnamachari, G R Iranna, jury for PLKA Scholarships 2019

ਪੰਜਾਬ ਲਲਿਤ ਕਲਾ ਅਕਾਦਮੀ ਨੇ ਦਿੱਤਾ 10 ਨੌਜਵਾਨ ਕਲਾਕਾਰਾਂ ਨੂੰ ਵਜੀਫ਼ਾ

ਚੋਣ ਪੈਨਲ:
- ਸੁਦਰਸ਼ਨ ਸ਼ੈੱਟੀ, ਉੱਘੇ ਕਲਾਕਾਰ ਅਤੇ ਕਲਾ ਸੰਚਾਲਕ, ਕੋਚੀ ਮੂਜ਼ੀਰਿਸ ਬੀਏਨਾਲੇ 2016 ਅਤੇ ਸਿਰੇਂਡੀਪਿਟੀ ਆਰਟਸ ਫੈਸਟੀਵਲ, ਗੋਆ 2019
- ਬੋਸ ਕ੍ਰਿਸ਼ਨਮਚਾਰੀ, ਕੌਮਾਂਤਰੀ ਪ੍ਰਸਿੱਧੀ ਪ੍ਰਾਪਤ ਕਲਾਕਾਰ, ਸੰਸਥਾਪਕ ਚੇਅਰਮੈਨ, ਕੋਚੀ ਮੂਜ਼ੀਰਿਸ ਬੀਏਨਾਲੇ
- ਜੀ ਆਰ ਇਰਾਨਾ, ਉੱਘੇ ਕਲਾਕਾਰ

Punjab Lalit Kala Akademi
In collaboration with
Indian Academy of Fine Arts, Amritsar
cordially invites you to the opening of
an exhibition of Graphics Prints

Stitch-in-Time

by
Rajinder Kaur

on 25^th April 2019 at 5.15 pm
at S G Thakur Singh Art Gallery
Madan Mohan Malviya Chowk
Indian Academy of Fine Arts Amritsar
 
Exhibition will remain open
from 26 to 28 April 2019
10.00 am to 6.00 pm
 
Diwan Manna, President PLKA
Shivdev Singh, President IAFA
 
 
ਪੰਜਾਬ ਲਲਿਤ ਕਲਾ ਅਕਾਦਮੀ ਵੱਲੋਂ
ਇੰਡੀਅਨ ਅਕੈਡਮੀ ਓਫ ਫਾਈਨ ਆਰਟਸ ਅੰਮ੍ਰਿਤਸਰ ਦੇ ਸਹਿਯੋਗ ਨਾਲ
 
ਰਾਜਿੰਦਰ ਕੌਰ
ਦੁਆਰਾ ਸਿਰਜੇ ਗ੍ਰਾਫਿਕਸ ਪ੍ਰਿੰਟਸ ਦੀ ਪ੍ਰਦਰਸ਼ਨੀ
 
ਸਟਿਚ-ਇਨ-ਟਾਈਮ
ਦੀ ਚੱਠ ਤੇ ਆਪਜੀ ਨੂੰ ਹਾਰਦਿਕ ਸੱਦਾ
 
੨੫ ਅਪ੍ਰੈਲ ਸ਼ਾਮ ੫.੧੫ ਵਜੇ
ਐੱਸ ਜੀ ਠਾਕੁਰ ਸਿੰਘ ਆਰਟ ਗੈਲਰੀ
ਇੰਡੀਅਨ ਅਕੈਡਮੀ ਓਫ ਫਾਈਨ ਆਰਟਸ
ਮਦਨ ਮੋਹਨ ਮਾਲਵੀਆ ਚੌਕ, ਅੰਮ੍ਰਿਤਸਰ ਵਿਖੇ
ਪ੍ਰਦਰਸ਼ਨੀ ੨੬ ਤੋਂ ੨੮ ਅਪ੍ਰੈਲ ਤੱਕ ਰੋਜ਼ਾਨਾ
ਸਵੇਰੇ ੧੦ ਤੋਂ ਸ਼ਾਮ ੬ ਵਜੇ ਤੱਕ ਖੁਲ੍ਹੀ ਰਹੇਗੀ

Printmaker Rajinder Kaur’s artistic journey is defined by the image of the sewing machines, an ode to her mother, who is a seamstress and pillar of strength and support for her artist daughter. Rajinder has a Master’s degree in Fine Arts (Printmaking, 2015) from the Government College of Art, Chandigarh. Rajinder’s starting point as an artist is her immediate environment, her home and her mother, the centre of her life and art.
Rajinder’s complete education is supported by her mother and the machinery and tools she used to sew and stitch, became Rajinder’s constant companions, references which the artist included in her work to express her admiration and appreciation for her mother and dignity of labour. The finesse and intricate stitching work involved with tailoring work helped Rajinder to devise practices which helped her develop a visual language that is gradually becoming a recurring leitmotif in her art work. Rajinder draws inspiration from the intimacy that a small stitching machine allows between the human being and its user, which slowly grows into a bond between elements such as threads, needles, measuring tape, scissors, cloth, hangers and us human beings.
Skillful and intelligent use of these metaphors allows Rajinder to draw attention to the uneven world that we live in and the valiant efforts of those among us who resist the socio-economic pressures and negotiate challenges thrown at us each moment of our existence. The arrangement of forms reveals emotions resting in the recesses of complicated thought processes -subtle, delicate and bustling with energy at the same time.  
As a woman, Rajinder appreciates another woman, with the burden of inequality of gender, class, caste, religion etc. in our social structure constantly surrounding her being, but never making her bitter or negative. In Rajinder’s art, it’s creativity that she celebrates, whatever the medium.

ਪ੍ਰਿੰਟਮੇਕਰ ਰਜਿੰਦਰ ਕੌਰ ਦਾ ਕਲਾਤਮਕ ਸਫ਼ਰ ਸਿਲਾਈ ਮਸ਼ੀਨ ਦੇ ਆਲੇ-ਦੁਆਲੇ ਘੁੰਮਦਾ ਹੈ। ਉਸ ਦੀ ਸਿਰਜਣਾ ਆਪਣੇ ਮਾਤਾ ਜੀ ਨੂੰ ਸਮਰਪਿਤ ਹੈ ਜਿਨ੍ਹਾਂ ਨੇ ਸਾਰੀ ਜ਼ਿੰਦਗੀਕਪੜਿਆਂ ਦੀ ਸਿਲਾਈ ਕਰਕੇ ਆਪਣੀ ਧੀ ਦਾ ਸਹਿਯੋਗ ਕੀਤਾ ਅਤੇ ਉਸ ਦੀ ਤਾਕਤ ਬਣੇ। ਰਜਿੰਦਰ ਕੌਰ ਨੇ 2015 ਵਿਚ ਚੰਡੀਗੜ੍ਹ ਦੇ ਸਰਕਾਰੀ ਆਰਟ ਕਾਲਜ ਤੋਂ ਲਲਿਤ ਕਲਾਵਿਚ ਮਾਸਟਰ ਡਿਗਰੀ ਹਾਸਲ ਕੀਤੀ। ਰਜਿੰਦਰ ਕੌਰ ਦੀ ਕਲਾ ਦੀ ਸ਼ੁਰੂਆਤ ਉਸ ਦੇ ਆਪਣੇ ਘਰ ਦੇ ਮਾਹੌਲ ਵਿਚੋਂ ਹੀ ਹੋਈ, ਉਸ ਦਾ ਘਰ, ਉਸ ਦੇ ਮਾਤਾ ਜੀ, ਉਸ ਦੇ ਜੀਵਨ ਅਤੇਕਲਾ ਦਾ ਧੁਰਾ ਬਣੇ।
 
ਕਲਾਕਾਰ ਰਜਿੰਦਰ ਕੌਰ ਨੇ ਦੱਸਿਆ ਕਿ ਉਨ੍ਹਾਂ ਦੀ ਸਾਰੀ ਪੜ੍ਹਾਈ ਮਾਤਾ ਜੀ ਅਤੇ ਉਨ੍ਹਾਂ ਦੀਆਂ ਸਿਲਾਈ ਦੀਆਂ ਮਸ਼ੀਨਾਂ ਅਤੇ ਸੰਦਾਂ ਦੇ ਸਹਿਯੋਗ ਨਾਲ ਚੱਲੀ, ਜਿਨ੍ਹਾਂ ਦੀ ਵਰਤੋਂਉਨ੍ਹਾਂ ਦੇ ਮਾਤਾ ਜੀ ਕਪੜੇ ਸਿਉਂਣ ਲਈ ਕਰਦੇ ਸਨ। ਇਹ ਸਾਰੇ ਸੰਦ ਉਨ੍ਹਾਂ ਦੇ ਹਮੇਸ਼ਾ ਸਾਥੀ ਬਣੇ ਰਹੇ। ਇਨ੍ਹਾਂ ਦੇ ਹਵਾਲੇ ਰਜਿੰਦਰ ਕੌਰ ਦੀ ਸਿਰਜਣਾ ਵਿਚ ਮਿਲਦੇ ਰਹਿੰਦੇ ਹਨਜੋ ਉਨ੍ਹਾਂ ਦੀ ਮਾਂ ਅਤੇ ਉਨ੍ਹਾਂ ਦੀ ਘਾਲਣਾ ਦੀ ਪਵਿੱਤਰਤਾ ਪ੍ਰਤੀ ਆਦਰ ਅਤੇ ਪ੍ਰਸ਼ੰਸਾ ਦਾ ਪ੍ਰਤੀਕ ਹਨ। ਕਪੜੇ ਸਿਉਣ ਦੇ ਕਾਰਜ ਵਿਚ ਸ਼ਾਮਲ ਬਾਰੀਕੀ ਅਤੇ ਮਹੀਨ ਸਿਲਾਈਦੇ ਕੰਮ ਨੇ ਰਜਿੰਦਰ ਕੌਰ ਨੂੰ ਅਜਿਹੇ ਢੰਗ-ਤਰੀਕੇ ਇਜਾਦ ਕਰਨ ਦਾ ਮੌਕਾ ਦਿੱਤਾ ਜਿਨ੍ਹਾਂ ਨੇ ਉਸ ਦੀ ਦ੍ਰਿਸ਼ਕਾਰੀ ਦੀ ਭਾਸ਼ਾ ਨੂੰ ਵਿਕਸਤ ਕਰਨ ਵਿਚ ਮਦਦ ਕੀਤੀ। ਇਹ ਭਾਸ਼ਾਹੌਲੀ-ਹੌਲੀ ਉਨ੍ਹਾਂ ਦੀ ਸਿਰਜਣਾ ਵਿਚ ਬਾਰ-ਬਾਰ ਆਉਣ ਵਾਲੇ ਪ੍ਰਤੀਕ ਬਣ ਗਈ। ਰਜਿੰਦਰ ਕੌਰ ਨੂੰ ਸਿਰਜਣਾਤਮਕ ਪ੍ਰੇਰਨਾ ਨਿੱਕੀ ਜਿਹੀ ਸਲਾਈ ਮਸ਼ੀਨ ਅਤੇ ਮਨੁੱਖਵਿਚਾਲੇ ਬਣਨ ਵਾਲੇ ਇਕ ਨਿੱਘੇ ਰਿਸ਼ਤੇ ਤੋਂ ਮਿਲਦੀ ਹੈ, ਇਹ ਰਿਸ਼ਤਾ ਧਾਗਿਆਂ, ਸੂਈਆਂ, ਫ਼ੀਤਿਆਂ, ਕੈਂਚੀਆਂ, ਕਪੜੇ, ਹੈਂਗਰ ਅਤੇ ਮਨੁੱਖਾਂ ਵਿਚਾਲੇ ਹੌਲੀ-ਹੌਲੀ ਪੀਡਾ ਹੁੰਦਾ ਜਾਂਦਾਹੈ।
 
ਰਜਿੰਦਰ ਕੌਰ ਵੱਲੋਂ ਇਨ੍ਹਾਂ ਬਿੰਬਾਂ ਦੀ ਹੁਨਰਮੰਦੀ ਅਤੇ ਸਮਝਦਾਰੀ ਨਾਲ ਕੀਤੀ ਗਈ ਵਰਤੋਂ ਕਲਾਕਾਰ ਦਾ ਧਿਆਨ ਉਸ ਅਸਾਵੇਂ ਸੰਸਾਰ ਵੱਲ, ਜਿਸ ਵਿਚ ਅਸੀਂ ਰਹਿੰਦੇ ਹਾਂ ਅਤੇਸਾਡੇ ਵਿਚੋਂ ਉਨ੍ਹਾਂ ਲੋਕਾਂ ਵੱਲ ਲੈ ਜਾਂਦੀ ਹੈ ਜੋ ਇਸ ਦੇ ਸਮਾਜਿਕ-ਆਰਥਿਕ ਦਬਾਵਾਂ ਖ਼ਿਲਾਫ਼ ਦਲੇਰੀ ਨਾਲ ਸੰਘਰਸ਼ ਕਰਦੇ ਰਹਿੰਦੇ ਹਨ ਅਤੇ ਹਰ ਪਲ ਆਪਣੀ ਹੋਣੀ ਨਾਲਬਾਬਸਤਾ ਹੋਣ ਵਾਲੀਆਂ ਸਾਰੀਆਂ ਚੁਣੌਤੀਆਂ ਨਾਲ ਨਜਿੱਠਦੇ ਰਹਿੰਦੇ ਹਨ। ਵੱਖ-ਵੱਖ ਆਕਾਰਾਂ ਦੀ ਤਰਤੀਬ ਗੁੰਝਲਦਾਰ ਖ਼ਿਆਲਾਂ ਵਿਚਲੀਆਂ ਭਾਵਨਾਵਾਂ ਨੂੰ ਉਭਾਰਦੀ ਹੈ ਜੋ ਇਕੋਸਮੇਂ ਡੂੰਘੇ, ਨਾਜ਼ੁਕ ਅਤੇ ਊਰਜਾ ਨਾਲ ਭਰਪੂਰ ਹੁੰਦੇ ਹਨ।
ਬਤੌਰ ਔਰਤ, ਰਜਿੰਦਰ ਕੌਰ ਬਾਕੀ ਔਰਤਾਂ ਨੂੰ ਅਕੀਦਤ ਭੇਂਟ ਕਰਦੀ ਹੈ, ਉਹ ਔਰਤਾਂ ਜਿਨ੍ਹਾਂ ਦੀ ਹੋਂਦ ਸਾਡੇ ਸਮਾਜਿਕ ਢਾਂਚੇ ਵਿਚ ਲਗਾਤਾਰ ਲਿੰਗ, ਜਮਾਤ, ਜਾਤ ਅਤੇ ਧਰਮ ਦੇਬੋਝ ਹੇਠਾਂ ਦੱਬੀ ਹੁੰਦੀ ਹੈ, ਪਰ ਇਹ ਦਬਾਅ ਉਨ੍ਹਾਂ ਅੰਦਰ ਕਦੇ ਵੀ ਕੁੜੱਤਣ ਜਾਂ ਨਕਾਰਾਤਮਕਤਾ ਨਹੀਂ ਭਰਦੇ। ਭਾਵੇਂ ਮਾਧਿਅਮ ਕੋਈ ਵੀ ਹੋਵੇ ਰਜਿੰਦਰ ਆਪਣੀ ਕਲਾ ਰਾਹੀਂਸਿਜਣਾਤਮਕਤਾ ਦਾ ਜਸ਼ਨ ਮਨਾਉਂਦੀ ਹੈ।
 
ਦੀਵਾਨ ਮਾਨਾ,
ਪ੍ਰਧਾਨ,
ਪੰਜਾਬ ਲਲਿਤ ਕਲਾ ਅਕਾਦਮੀ

Punjab Lalit Kala Akademi Presents

Paradoxically Absurd

Exhibition of artworks

by Manjot Kaur

opening on 22nd April at 5.15 pm

at Punjab Lalit Kala Akademi Gallery

Punjab Kala Bhawan

Rose Garden, Sector 16B, Chandigarh

after the opening day the exhibition will be open

from 23rd to 27th April daily

11.00 am to 7.00 pm

Diwan Manna

President, PLKA

ਪੰਜਾਬ ਲਲਿਤ ਕਲਾ ਅਕਾਦਮੀ ਦੀ ਪੇਸ਼ਕਸ਼

ਦੋਹਰੀ ਸੋਚ

ਮਨਜੋਤ ਕੌਰ ਦੁਆਰਾ ਸਿਰਜੀਆਂ ਕਲਾਕ੍ਰਿਤਾਂ ਦੀ ਪ੍ਰਦਰਸ਼ਨੀ

ਚੱਠ ੨੨ ਅਪ੍ਰੈਲ ੨੦੧੯ ਸ਼ਾਮ ੫.੧੫ ਵਜੇ

ਪੰਜਾਬ ਲਲਿਤ ਕਲਾ ਅਕਾਦਮੀ ਗੈਲਰੀ

ਪੰਜਾਬ ਕਲਾ ਭਵਨ, ਸੈਕਟਰ ੧੬ ਬੀ, ਚੰਡੀਗੜ੍ਹ

ਚੱਠ ਵਾਲੇ ਦਿਨ ਤੋਂ ਮਗਰੋਂ

ਪ੍ਰਦਰਸ਼ਨੀ

੨੩ ਤੋਂ ੨੭ ਅਪ੍ਰੈਲ ਤੱਕ ਰੋਜ਼ਾਨਾ ਸਵੇਰੇ ੧੧ ਵਜੇ ਤੋਂ ਸ਼ਾਮ ੭ ਵਜੇ ਤੀਕ

ਦਰਸ਼ਕਾਂ ਵਾਸਤੇ ਖੁੱਲ੍ਹੀ ਰਹੇਗੀ

ਦੀਵਾਨ ਮਾਨਾ, ਪ੍ਰਧਾਨ

The exhibition Paradoxically Absurd  addresses the act accepting two mutually contradictory beliefs as correct, often in distinct social contexts. Growth and decline, seen and unseen, outside and inside, macroscopic and microscopic, mundane and surreal, finite and infinite, random and scripted become the common thread to represent the connection between the accepted dichotomies of life.

Manjot Kaur works with a wide range of media including Books Arts, Installation, Video (2D animation and time-lapse), Sound, and Interactive Performance inquiring the socio-political and anthropological concerns of environment, identity and existence by employing the tools of absurdity, uncertainty, and randomness. The basis of her art practice is to understand the ever-evolving nature of life around us and how nature and humans adapt to changing and sometimes hostile environment. Her work is an interface between science, nature, perception, and scale, inciting a discourse on the social, cultural and personal issues, through the careful representation of objects and narratives rooted in temporal, ephemeral, and entropy. Her work often pertains to the logic of absurd, where absurd is not seen as amusing, foolish or stupid rather as the epistemology of perception and understanding.

She focuses on the notion of on-going, the present and the passing in the process of movement, change, growth, decay, death, birth, evolution, and, existence to generate a feeling of being alive in the fast-growing changing malignant times.

Manjot Kaur (b.1989), Ludhiana, Punjab, India

MFA (University Gold Medal) in Painting, Government College of Art, Chandigarh, 2012.

She has been an artist in residence at Unidee, Citadellarte – Fondazione Pistolleto, Italy, 2018scholarship by Inlaks Shivdasani Foundation, India; Museo Casa Masaccio Centro per l’Arte Contemporanea, San Giovanni Valdarno, Italy  in collaboration with Clark House Initiative, Mumbai, 2018; Khoj International Artists’ Association – Peers18, New Delhi, 2018; Mythos – Land Art Biel/Bienne, Switzerland, 2017; Gram Art Project - funded by FICA, India, 2016; Harmony Art Foundation, Mumbai, India, 2015; Global Nomadic Art Project, India, 2015; and Tellusart, Sweden, 2009. She has participated in Water – A video exhibition, Geumgang Nature Art Biennale, South Korea, 2016; Cairotronica- International Symposium of Electronic and New Media arts, Cairo, Egypt, 2016; 28th National Exhibition of Contemporary Art, SCZCC, Nagpur, India, 2015 and United art Fair, New Delhi, India, 2012.

She is the recipient of Professional Annual Award, Punjab Lalit Kala Akademi, 2019 & 2018; 30 Under 30 Award, Hindustan Times Youth Forum, 2017; Sohan Qadri Fellowship, 2017; Professional and Student Annual Award, Chandigarh Lalit Kala Akademi, 2017 and 2012.

JASPAL KAMANA—A COMMITTED CAMERAMAN

By Subhash Parihar

By its very nature, every photograph is a documentary evidence of something real. But the genre labeled as ‘Documentary Photography’ forms a class in itself. It is one of the various approaches to the art of photography. And when the documentation is focused on society, its issues, the life and plight of deprived or destitute people so as to draw public attention to them, it becomes ‘Social Documentary Photography’.

In Great Britain and the US‘ Social Documentary Photography’ had taken roots as early as in the nineteenth century. And many a times it culminated into far-reaching social changes. The innumerable pictures of child labourers, and their miserable plight, clicked by the American Sociologist and photographer Lewis Wickes Hine (1874-1940) resulted into a law against child labour.

There is yet another role performed by social photography. The world, as all of us know, is changing at an unprecedented speed, documentation of this change becomes all the more significant. As the old life-styles cannot be preserved in freezers forever, a cameraman can document it honestly for the coming generations. Such images, with the passage of time, will become visual sources of history. But in such documentation work, there is always a danger of adopting a sentimental approach which must be avoided.

Recently, some young photographers of Punjab have taken up the responsibility of documenting various traditional occupations of the region. The effort deserves all appreciation.  Photographer Jaspal Kamana is one of them. A college teacher by profession, he is passionately devoted to the art of photography. Having been active in this field for more than a decade, he has learnt to look at the world objectively. His pictures heighten the cognizance of people’s terrible working conditions. His approach is humanistic and he successfully conveys his message through the character’s body language, facial expression, and his/her surroundings. Tan Sei Hon, the Malaysian independent Curator aptly says: ‘By celebrating the worker, we also celebrate our own humanity which we sometimes forget exists under the weight of various job titles.’

Although colour photography is the fad of the day, Jaspal, in consonance with his subject matter shuns it, and opts for the monochromatic which has a charm of its own. It offers a soothing respite from the riot of colours all around us. His success as a photographer is already evident from his bagful of awards and honours. Not much needs to be said as his pictures speak for themselves.

Subhash Parihar

Art-Historian and Artist