Education is the core concern of all our initiatives. Listed below are some of the lectures and workshops conducted at the Museum.
Public lecture by Dr. Kavita Singh
, Art Historian
Saturday 16th November 2013 at 6:30 pm
The Future of Ethnographic Museums
Observers regularly predict the imminent death of the ethnographic museum, an institution that was born of colonial entanglements and that now seems an embarrassing relic of an earlier and more iniquitous age. Kavita seeks to present a contrarian view: rather than seeing the ethnographic museum as a thing of the past, she argues that all museums of the future will be ethnographic. She posits that the ethnographic mode underlies or will soon underlie all major museal and exhibitory forms to a greater or a lesser degree. To demonstrate this, Kavita will draw on examples of museums that are burgeoning across China, South East Asia, South Asia and the Gulf states, discussing the ways they respond to the pulls and pushes of a global cultural economy and global cultural circulation through processes of description and inscription in ways that are distinctly ethnographic.
Dr. Kavita Singh
is an art historian and Associate Professor at the School of Arts and Aesthetics, JNU. Her research interests include the history and politics of museum collections, the social history of Indian painting, and the application of narrative theory to art. Her publications include New Insights into Sikh Art
(Marg, 2002) and essays in several international and national journals and edited volumes. She has been Research Editor, Marg Publications and Guest Curator, San Diego Museum of Art and Museum Intern at the Asia Society in New York. She was co-curator of Power and Desire: Indian Paintings from the Binney collection
, an exhibition of Indian miniature paintings that traveled through the US, Europe and Asia. In 2005 she received a major grant from the Getty Foundation for a collaborative project to study the place of museums in the social landscape of India today.
The lecture will be held on Saturday, 16th November 2013, in the Origins of Mumbai Gallery at the Dr. Bhau Daji Lad Mumbai City Museum. Do join us for tea at 6:00 pm, followed by the lecture at 6:30 pm
. Since the seating is limited, we request you to please RSVP
with us by email (email@example.com
Public lecture by Ram Rahman
, Photojournalist and activist
Saturday 9th November 2013 at 6:30 pm
The Photograph as Document: Making a Visual Archive of a Culture
In the decades since he took up the camera, Ram Rahman’s activism and varied interests have given him an insight into some of modern India’s most private and memorable moments. His images form a narrative of timeless moments, of fleeting memories and long-lost faces captured forever. By looking back at his rich oeuvre, Ram will discuss the tradition of documentary photography, and trace its historical roots in India. The questions of truth, context, history, memory and nostalgia are embedded in the photographic image, and Ram will speak on how a practitioner grapples with these issues to make a body of work which is both personal and universal.
Public lecture by Johan Pijnappel
, Dutch art historian and curator
Saturday 12th October 2013 at 6:30 pm
Indian Video Art: History in Motion
In 2004, Fukuoka in southern Japan was the site of Indian Video Art: History in Motion
, a historic exhibition that for the first time focused on video art from the subcontinent. It was the very first museum exhibition that featured the video works of Indian artists like Subba Ghosh, Shilpa Gupta, Subodh Gupta, Sonia Khurana, Umesh Maddanahalli, Nalini Malani, Sharmila Samant, Tejal Shah, Valay Shende and Vivan Sundaram. While older artists like Nalini and Vivan began using video early on, it was still a relatively new medium until the mid-90s owing to the paucity of venues and facilities to show it within the country. This exhibition investigated the possibility of video art, from the point of view of these artists who were until then mostly known as painters and sculptors. Johan, who has been curating Indian video art for more than fifteen years, elaborates on his experiences in Fukuoka, juxtaposing it with experiences in Amsterdam (1998), Beijing (2002) and Chicago (2007).
Public lecture by Pooja Sood
, Director of KHOJ International Artists’ Association
Saturday 28th September 2013 at 6:30 pm
The City as Site: the 48C. Public. Art. Ecology experiment
48C. Public. Art. Ecology
was an experiment aimed at interrogating the teetering ecology of the capital metropolitan city of Delhi through the prism of contemporary art. Through 25 art interventions across 10 public sites in the city – the first contemporary art project of its scale— the festival attempted to draw a diverse public into the world of this critical imaginary. The project brought together Indian and International artists around the thematic of art and ecology, the title of the project itself evoking Delhi’s famed heat waves a result of the exigencies of global warming. Curated by Pooja in 2008, and supported by the Goethe Institut and the GTZ, this presentation will walk the audience through this unique project highlighting issues of site specificity and the instrumentalisation of art. Pooja aims to delve into the meaning of public spaces in India and their hospitability (or lack of) to contemporary art and the responses it garners from the government and varied audiences.
Public lecture by Girish Shahane
, Independent Writer
Saturday 21st September 2013 at 6:30 pm
The issue of free expression has regularly featured in debates about art in India, especially in the decade and a half since M F. Husain was first accused of giving offence. Defenders of artistic license often use Libertarian arguments, though the Indian constitution is far from Libertarian. Shahane attempts to locate the discussion within a specifically Indian context, foregrounding the gap between the responses of India’s law-making apparatus to obscenity on the one hand, and political or religious offence on the other. In building his argument, Shahane refers to texts like Bharata’s Natya Shastra
, the Williams Report on Obscenity and Film Censorship, and the Delhi High Court judgement in the M.F. Husain case.
Public lecture by Dr. Arshiya Lokhandwala
, Founder and Curator of Lakeeren Art Gallery, Mumbai and Art Historian
Saturday 31st August 2013 at 6:30 pm
Devi Darshan: A Gift of Love
The catalogue text for Devi
, the exhibition of Indian Goddess at the Arthur M. Sacker Gallery, Washington D.C., contemplates that “there is no great Goddess but when activated, every Goddess is the great Goddess.” Dr. Lokhandwala considers this proposition by discussing the installation of Anita Dube's Imitations of Morality
(1997) and two photographic works by Vidya Kamat Being Kumari
and In Sacred Time
(2005). She attempts in this lecture to explore the reciprocal aspect of darshan
, the Indian concept of seeing God in the act of worship. She employs the psychoanalytical concept of Kaja Silverman of the “ethics of the field of vision” as a reference point to further her analysis of cultural practices related to Devi worship.
Public lecture by Santhosh Sadanandan
, Assistant Professor at the School of Culture and Creative Expressions, Ambedkar University, Delhi
Saturday 24th August, 2013 at 6:30 pm
Craft of Primitivism: The History of Institutionalization of Culture in Modern India
The lecture is an attempt to revisit debates around craft and the nation, and question the construction of a primitive discourse around subaltern communities. This primitive discourse has played a vital role in the construction of the subaltern as objects of exotic purity and curiosity, as well as objects for/of reformation. Thus craft becomes a site against/towards which multiple gazes come together – the governmental, the elite; where notions such as modernity, secularism, and civil society occur. Keeping in mind this larger historical paradigm, Santhosh attempts to deconstruct the illusion, that any craft can be fully understood as an ‘autonomous objects’, removed from their social and historical contexts. According to Santhosh, this approach prioritizes the formal, morphological and surface characteristics of the observed object. He attempts to explore the limits of notions like primitivism and their various ramifications, by analysing few instances from the history of the institutionalization of craft in modern India (namely the formation of Santiniketan and National Craft Museum) in this presentation.
Public lecture by Pedro Gadanho
, Curator of Contemporary Architecture in the Department of Architecture and Design at the Museum of Modern Art, New York
Saturday 15th June 2013 at 6 pm
Curating Architecture as Critical Practice - From Independent to Institutional Contexts
Established in 1932, MoMA's Department of Architecture and Design was the first curatorial department devoted to architecture and design ever created in a museum context. From its inception, it has built a collection that today includes 28,000 works ranging from large-scale design objects to works on paper and architectural models. This collection is also the main platform from which many of the Department's exhibitions are organized, so as to offer the public new interpretations of modern and contemporary architectural production. In this lecture, Gadanho confronted this institutional vision with the notion of a critical practice of curating architecture.
Public lecture by Shukla Sawant
, Visual Artist and currently an Associate Professor of Visual Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi
Saturday 1st June 2013 at 6 pm
Out of India: Landscape Paintings Beyond the Picturesque Frame
The lecture draws attention to landscape painting in India, during the roughly one hundred and fifty year period between the Permanent Settlement Act of 1793 and 1947. The primary focus will be the work of artists who emerged from the social and intellectual world of art institutions, which were introduced to India in the late nineteenth century. By providing a historical context for understanding how “native” artists who entered these institutions, de-stabilized and de-centered the discourse of imperial landscape painting connected to surveillance and documentation, the lecture will throw light on a body of work from regions such as Kolhapur and Mysore.
Public lecture by Vidya Shivadas
Saturday 25th May 2013 at 6:30 pm
Site Under Construction – Notes on the Contemporary Art Museum
The exhibition Zones of Contact: Propositions on the Museum
has been co-curated by Vidya, along with Akansha Rastogi and Deeksha Nath, at the Kiran Nadar Museum of Art, Noida. Her lecture forms part of the working notes on the current exhibition, and examines the contours of the contemporary art museum in the subcontinent. It takes its cues from James Clifford’s formulation of the museum as ‘Contact Zones’, where the museum is cast into a transitional space activated by the complex interplay of cultures and communities coming into contact and engaging with each other. The exhibition becomes a starting point to think about the future of private museums that are beginning to play a significant role in the institutional landscape of India, and how they intend to address diverse audiences and the accompanying questions of exclusion and inclusion. Vidya intends to question the forms and canons that will be set into place by these new museums. She intends to look at how they will connect with complex issues of representation and identity formations taking place in the age of globalization.
Public lecture by Suresh Jayaram
, Visual artist and art writer
18th May 2013
1 Shanti Road – Synergies of a Social Space
In the 10 years that it has been around, 1 Shanti Road has become the fulcrum of Bengaluru’s contemporary art scene. It serves as an example of institutional critique of art spaces surviving in the ‘solidarity economics’ of other alternative venues in the city.It has supported emerging artists by showcasing their work, through residencies and shows as well as provided a vibrant and alternative space for dialogue and discussions by seasoned artists and scholars. Started by Jayaram in 2003, it attempts to expand the scope of home from being merely a private enclosure, liberating the art discourse from institutionalized learning. Even the architecture of the space reflects its aim of reconnecting the individual with the community: challenging the visitor’s notion of a home and family, and a studio and gallery. Jayaram will talk about this “studio gallery” and its attempt at freeing the art gallery from its conventional impression as the rarified domain of the well-heeled and ‘discerning’ patrons, thereby re-establishing a symbiotic relationship between art, the artist and the environment.
Public lecture by Rasna Bhushan
, Hyderabad-based art historian and independent curator
Saturday 11 May 2013
Rasna Bhushan spoke on the significance of India’s first Biennale, the Kochi – Muziris Biennale which opened on 12.12.2012 and closed on 13.3.2013. She explored how the Biennale gradually brought into the audience’s consciousness, art as process and as labour. While discussing individual artworks, she addressed the idea of the Biennale as a large site - and history-specific installation which self-reflexively re-invented the relationships between art and artistic communities, the State and culture, the regional and the cosmopolitan, a city and its peoples.
Public lecture by Yashodhara Dalmia
, Art Critic
4th May 2013
Amrita Sher-Gil: Passage to India
Dalmia’s lecture traced the journey of one of the most significant artists in India, from her early training in Paris to her triumphant return to India, where she influenced the course of modern art and generations of artists. Amrita Sher-Gil’s time spent studying at the Ecole des Beaux Arts and her exposure to Indian art at the Musee Guimet allowed her to appreciate India’s classical and pictorial depths. While remembering Sher-Gil on her 100th birth anniversary this year, Dalmia aimed to trace her journey to India where the gifted and flamboyant artist produced a series of vivid portraits of Indian village during her short and dramatic life. Sher-Gil is largely acknowledged as the first woman artist to make a mark in the history of Indian art and the extent to which this became an important signifier was also discussed.
Public lecture by Rahaab Allana
, Curator, Alkazi Foundation
13th April 2013
Exhibitions of photography have been understood in terms of the imperial, modern and post-colonial, and have therefore been part of a collective enterprise, representing the complexities between past and present. Even the photographer’s subjectivity is questioned, together with the camera’s ‘framing’ of time: its ability to reveal, censor, alter and re-orient. But how are these understood when dealing with images whose authors no longer exist? Allana aims to look at archives and its afterlife, where this depth of field
haunts the photographs that have no living author. These photographs are often viewed as timeless: a world in which the temporal, spatial and historical form ephemeral links and express the fraught relationship between the personal, self-conscious and the aesthetic. Photography to this extent signifies a complex system: art-practice, visual mode, a process, a tool and hence, an absorbing, malleable means of representation. Allana’s talk will be a reflection through exhibitions curated and assisted by the Alkazi Foundation.
Public lecture by Dr. Jyotindra Jain
, Noted Art and Cultural Historian
6th April 2013
Collage as Visual Strategy: Reconfiguring the Divine and the Political in Indian Popular Visual Culture
Dr Jain discussed how an eclectic range of imagery from the changing world of colonial India became instrumental in evolving a visual language of collage and citation which, in turn, acted as a vehicle of cultural force, creating and negotiating interstices between the sacred, the erotic, the political and the colonial modern. To this aim, Dr Jain analyzed a number of collaged pictures framed and displayed in the palatial homes of merchants of the Shekhavati region in Rajasthan. In these collages, imported prints of European landscapes or scenery painted by artists from Nathadwara (in Rajasthan), which often mimicked the colonial mansions of their patrons, were used as a background over which figures cut out from popular prints depicting religious or nationalist subjects were superimposed, to tactically reconfigure the images and their meaning.
Public lecture by Dr. Sanjoy Kumar Mallik
, Associate Professor and HOD, Dept. of History of Art, Kala Bhavana, Visva Bharati, Santiniketan
16th March 2013
The Transforming Language of Visual Art in Bengal: Chittaprosad and Gopal Ghose
Bengal in the 1940’s saw a distinct shift in approaches and attitudes to visual articulation. In the midst of tumultuous political developments and a renewed effort towards independence, the visual arts were caught between political realism and formal modernism as alternatives for a linguistic choice. For Mallik, both these approaches sought to catapult art out of the dominant refrain of nationalist aspirations on the one hand as well as the staid conventions of art school pedagogy on the other. He attempts to map out the dynamics of these alternatives through case studies of individuals who opted for either - or both - of these alternative choices. Mallik looks at two artists, Chittaprosad and Gopal Ghose, in an attempt to comprehend the changing scenario in early modern painting. The presentation draws on two recent exhibitions by the speaker on these artists, providing an art historian's narrative of the process and experience of putting the two exhibitions together.
Public lecture by Ingval Maxwell
, OBE, Conservation Architect
5th March 2013
Place and Communities: A historical perspective on local materials, techniques and traditions in the UK
In the context of international conservation charters and conventions set up to protect our architectural heritage, this lecture by Sir Ingval will illustrate a broad range of traditional buildings and the diversity of building materials used in their construction and subsequent conservation. In an effort to promote international cooperation, the International Council on Monuments and Sites’ (ICOMOS) International Training Committee was set up to provide training and education in the protection, conservation ad revitalization of monuments and built heritage. Sir Ingval will address the application of the internationally recognised ICOMOS Education and Training Guidelines in two scenarios - the integrated gathering of knowledge to create an understanding of 19th century rural farm buildings, and the application of specialist requirements involved in converting 18th century Duff House, considered one of Britain’s finest Georgian houses, into a country house gallery.
Public lecture by Beth Citron
, Assistant Curator at the Rubin Museum of Art, New York
26th February 2013
Modernist Art from India
Beginning in 2011, the Rubin Museum of Art, New York, initiated the exhibition series Modernist Art in India
. Through the three consecutive exhibitions in this series, the Museum expanded the geographic scope of its exhibitions and reinforced its commitment to modern and contemporary art. The three part exhibition focuses on various themes: Body Unbound
showcased the figurative works of post-Independence artists, while Approaching Abstraction
took a look at experimentations in abstraction in both painting and film. After briefly discussing the first two parts of the series, Beth will particularly focus on the third, ongoing show, Radical Terrain
, which looks at diverse explorations of landscape, showing how landscape was a means for artists to come to terms with the vastness of India as a new nation. The show also features new work by international contemporary artists of diverse backgrounds currently working in and identifying with landscape. This is both a response to the modernist paintings on view and to work towards a nuanced conceptual understanding of what "landscape" in art is.
Public lecture by Dr Shridhar Andhare
, Art Historian
23rd February 2013
Jain Monumental Painting
In this lecture, Dr Andhare will examine the Jain tradition of monumental painting known as patas, which like their miniatures, were considered essential for the accumulation of spiritual wisdom, and depicted scenes from Jain myth as well as the daily life of the faithful. Dr Andhare’s lecture provides a rare glimpse into this rich tradition, most of which still remains within the precincts of Jain bhandars
and private collections. These patas mainly fall under two categories: tantric and non-tantric, the former includes diagrams or mantras
known as yantras
made according to descriptions given in religious texts, while the latter include chitrapatas
(cloth paintings) which do not confirm to any tantrik vidhi
or ritual procedures.
Public lecture by Ratan Parimoo
, Noted Art Historian
16th February 2013
Sources and Development of Rabindranath Tagore’s Paintings
While Rabindranath Tagore’s life has been the subject of many studies, books and symposiums, there remains much to be learnt about this versatile genius, who began to paint only in his sixties. Dr. Parimoo takes a look at the avant-garde artist, whose painting activity emerged independent of his literary interests. Tagore’s practice began in an unpremeditated manner, and what resulted was a phantasmagoria of animal and bird forms. He turned to human faces, using them as studies in character and expression. To his repertoire of imageries, he added the genre of landscape, atmosphere and space. In his lecture, Dr. Parimoo explores Tagore’s disregard for both Naturalism and the Indian traditional pictorial style, and traces the evolution of his unique manner of using lines, colour application and configurations.
Public lecture by Ram Rahman
3rd November 2012
The Tradition of the Documentary Photograph
Sunil Janah, Walker Evans, Manuel Alvarez Bravo and Brassai, each of these photographers made a body of work which was epic in scale and rooted in their own cultures. Ram will talk about the nature of the photographic medium and its documentary language, the tradition of social documentary photography and its continuing relevance. Rahman will also talk about Federico Fellini’s film La Dolce Vita
and its inspiration from the 'page 3' tabloid photographers in Rome in the late 1950's, especially Tazio Secchiaroli. It will be an exploration of how an artist takes from reality, the transformations they make, and how creative subjectivity enters their œuvre
Public lecture by Naman Ahuja
, Art Historian
24th November 2012
Legacies of the Arts and Crafts Movement in India: Modernism and Swadeshi
The history of the Arts and Crafts Movement has rarely been looked at outside the Euro-American Sphere. This is paradoxical, as this was the one Movement of Modern Art that was most impacted by the aesthetic philosophies of India, China and Japan. In turn, the Arts and Crafts Movement had no small impact had on Gandhi, Tagore and Coomaraswamy, and through them it went on to impact the Indian Freedom Struggle and the rallying cry of swadeshi
. It inspired the creation of India’s earliest art-schools, -colleges and museums. Later, its polemics went on to inform the policy for Indian folk/ village/ small-scale art and industry. For Ahuja, when curators and artists are busy incorporating the ‘vernacular in the contemporary’ (to borrow a phrase) - then it certainly becomes germane to see what the political/ social/ and philosophical history for such an inclusion are.
Lecture by Dr. Kavita Singh
, Art Historian and Associate Professor at the School of Arts and Aesthetics, JNU
13th October 2012
Place for People in the Indian Museum
Right from the inception of public museums in India in the 19th century, several museum keepers have noted the huge amount of visitors their institutions attract. Who are these visitors, and why do they come to the museum? What do they get from their visit? Instead of critiquing what Indian museums are unable to do, if we try to study what Indian museums are doing for their audiences, will it help us understand their social presence differently? Beginning with an exploration of the meaning of the museum in India for its subaltern audiences, this presentation will draw on cross-cultural teaching materials and Singh’s own research on South Asian museums to discuss the ways in which ‘the people’ have figured in museum discourse and practice: as recipients of the museum’s pedagogy; subjects of social engineering experiments; ethnographic objects for display; supports for post-colonial experiments in multi-culturality; and a late-democratic rhetoric of popular representation, asking if the museum can really ever be a place for a radical praxis.
Lecture by Dr. Annapurna Garimella
, Designer and Art Historian
6th October 2012
The Vernacular in the Contemporary
Contemporary vernacular art in India includes craft, folk, tribal, ritual, temple, classical, domestic, self-taught and sometimes popular art forms and practices. This umbrella category sees and produces a collaborative and conflictual relationship between these various art forms and also acknowledges the inherent diversity of the vernacular art sphere, while also positioning them in a critical, questioning relationship with the prevalent idea of the contemporary. Garimella will discuss these issues through the history of exhibitions and specific curatorial practices in modern, post-Independence India and conclude by thinking about how contemporary vernacular and urban artists engage with the idea of the vernacular.
Lecture by Rupert Richard Arrowsmith
, Research Associate, Faculty of Arts and Humanities, University College London
1st Septeber 2012
The Face of the Buddha: The Writing of William Empson’s Lost Book on Buddhist Art
Most people know William Empson as an English poet, philosopher, and literary critic who lived in Japan and China between the 1930’s and 1950’s, and travelled extensively all over southern and Eastern Asia. Very few people know, however, that the reason Empson undertook these travels was in order to satisfy a consuming interest in Buddhist sculpture that shaped his later thinking not only about Asian visual art, but about religion and ethics in the West as well. This interest of Empson’s culminated in the writing of a book, The Face of the Buddha
, which Empson considered one of his most important works. To his dismay, however, the manuscript for it was lost just after the Second World War, and was not rediscovered until 2006. Dr. Arrowsmith’s talk will explain how The Face of the Buddha
came to be written, explore William Empson’s unique and highly personal observations on Asian art, and highlight the importance of this new publication to a cosmopolitan, global audience.
Lecture by Dr. Parul Dave Mukherji
18th August 2012
Beyond Melancholia: Art Writing in the age of Loss of Authority
The current art scene presents a paradox- there is a burgeoning art practice visible at various international exhibitionary spaces at the same time there is a gradual recognition that the centre of the art market has shifted to the East, Far East, south Asia. While this may be celebrated as a wider reach of art and the art market and the rise of the new public, who are more and more situated outside the west, this euphoria is not matched by trends in art writing.
Documentation, archival and catalogue writing have taken precedence over a more historical and critical art writing at a time when contemporary art is doing brisk business at art fairs. Among the leading art critics and art historians, a sense of unease and nostalgia prevails that judicious criticism has taken a back seat. Is this anxiety stemming from a loss of authority of art historians and art critics and their Eurocentric discourse or is this a symptom of a broadening of the field itself? This lecture attempted to look beyond the rhetoric of loss towards a democratization of aesthetics itself.
Lecture by Shukla Sawant
26th May 2012
Artists' Collectives and the Solidarity Economies of Art
In Bangalore, over the last decade, artist-run spaces and collaborative practices have created a compelling alternative to gallery and museum based economies of art. Organic and constantly evolving; breaking away from established exhibition formats and often surviving through the voluntary efforts of a number of individuals who have concentrated on building relationships among fellow artists, these experiments with “solidarity economies” are in fact inspired by the efforts of an earlier generation of artists whose efforts have often been overlooked. The lecture will offer an overview of the making of this distinctive ‘art world’ from the 1920’s onwards. This paper will be published by Heildelberg University, Germany, shortly.
Lecture by Vidya Shivadas
18th May 2012
Vision from the Centre: The setting up of National Cultural Institutions in independent India
In the immediate years following independence the formation of national museums and art organizations took on an unprecedented urgency. The National Museum, a repository of India’s tradition and heritage, was formed in 1949. The National Gallery of Modern Art and Lalit Kala Akademi came up in 1954. They signaled the nation’s commitment to values of modernism and preceded such institutions in many other post-colonial nations by at least three decades. This paper examined the setting up of these institutions and the role they played in the making of ‘national culture’. By looking at their specific institutional histories, it examined how they grappled with issues of centralization, identity, Indian-ness, tradition and modernity and presented the symbolic centres of the national cultural imaginary.
Lecture by Suresh Jayaram
12th May 2012
Curating the Colombo Art Biennale 2012: Thoughts and Experiences
“Becoming”, the theme at the Colombo Art Biennale 2012
responded to the avant-garde demand for the integration of art and life. The five day event, held from the 15th to the 19th of February 2012, was a significant landmark: it opened up a politically conscious and socially engaged discourse by the two curators - Roman Berka (Vienna) and Suresh Jayaram (India).
The idea of “Becoming” can be thought of as “transitional period” or “space of transition”. Becoming is about is neither about the past, nor the future, it is about the present and has high potentiality in between two stages of being. It can be interpreted in the context of the history of Sri Lanka but it can also be seen on a global scale, politically or concerning questions of humanity. The Biennale was conceived as a laboratory, an experimental field where Sri Lankan, regional and international artists could reflect on social realities through their art. The exhibiting artists worked across a variety of media including painting, sculpture, installation, performance, photography, video and film.
Lecture by Ashish Rajadhyaksha
5th May 2012
The 'Baroda School' - Some Retrospective Hypotheses
In this lecture, Ashish Rajadhyaksha presented a retrospective look at ‘The Baroda School’. The 'Baroda School' constituted a brief and flourishing 'movement' that can perhaps be dated as occurring between the Place for People
exhibition (Mumbai & Delhi, 1981) and the rise of the art market, following economic liberalization. In its relatively brief period, the movement constituted a diverse set of practices which went considerably beyond the visual arts, to include parallel practices in theatre, film and intellectual thought as reflected in several independent journals, as well as a set of pedagogic practices at the Faculty of Fine Arts, M.S. University.
Lecture by Dr. Parul Dave Mukherji, Dean, School of Arts & Aesthetics, JNU
21st April 2012
Professor Parul Dave Mukherji (D.Phil, Oxford) spoke on Entangled Temporality: Contemporary Indian Artists and Their Retakes on the 'Golden Age'
Venue: Origins of Mumbai Gallery, Dr. Bhau Daji Lad Museum - 6.30pm to 8pm.
Lecture by Rupert Richard Arrowsmith, Research Associate, Faculty of Arts and Humanities, University College London
14th April 2012
Dr. Arrowsmith’s spoke on 'The Asian Origins of Modernism: How Indian and Japanese Visual Culture shaped Early Twentieth Century Art and Literature in London'
. His talk threw light on the cultural histories written in Europe and the United States which normally imagine that Modernist sculpture, painting and poetry was invented in the West and then imitated in Asia. Dr. Arrowsmith replaced this outdated, provincial approach with a global and cosmopolitan view by arguing that Western Modernism was actually part of an international symphony of simultaneous, mutually dependent cultural movements whose influence flowed at least as powerfully from East to West as the other way around. His lecture was to demonstrate conclusively that a great many ‘innovations’ in early twentieth century British art and literature were derived directly from the visual cultures of Southern and Eastern Asia. In particular, the early sculptures of Jacob Epstein and Eric Gill (London’s first Modernist sculptors) were shown to have derived iconography, aesthetic approaches and techniques directly from Indian temple carvings. London’s poets, too, were shown to have developed Imagism (the city’s first movement in Modernist poetry) from a study of Japanese art.
Lecture by Dr. Raman Siva Kumar, Senior Professor, Visva-Bharati University, Shantiniketan, Kolkata
10th April 2012
Dr. Raman Siva Kumar spoke on 'Meaning to Presence: Rabindranath Tagore’s Emergence as a Painter'
. This lecture looked at what led to Rabindranath Tagore’s late emergence as a painter. Tagore, aside from being a Nobel Prize winning poet and a multifaceted writer, was a musician, thinker and social leader. He emerged as a painter as well, but only when he was in his mid-60s. His interest in painting, however, dates back to his early years. Dr. Siva Kumar discussed this emergence as well as some of the salient features of Tagore’s works.
A dialogue between Sheba Chhachhi and Kavita Singh
December 4th 2011
Lecture by Francis Morris and Jessica Morgan, Tate Modern, UK
December 2nd 2011
Lecture by Savia Viegas, Historian and Writer, Goa
26th November 2011
Savia Viegas, art historian and writer based in Goa, will speak on 'Angelo da Fonseca's new Swadeshi Lexicon for Christian Art,'
Lecture by Gregory Irvine, V&A Museum, London
Gregory Irvine, Senior Curator, V&A, London spoke on the Japanese collection at the V&A, ‘Collecting and Exhibition Japan at the Victoria & Albert Museum, London.’
Lecture by Beth McKillop, V&A Museum, London
Ms. Mckillop, deputy director of the V&A, London spoke on the topic 'Chinese collection of the Victoria and Albert museum'
Lecture by Michael John Wheeler, Senior Paper Conservator, V&A Museum, London
Mr. Wheeler, Senior Paper Conservator gave a presentation of 'Conservation Options, Solutions and Dilemmas -
The John Forbes Watson Sample Books and other works on paper'
Lecture by Martin Barnes, Senior Curator of Photography, V&A Museum, London
Mr. Barnes, Senior Curator for Photography at the V&A London spoke on 'Curating Contemporary Photography at the Victoria and Albert Museum, London'.
Lecture by Rahaab Allana, Alkazi Foundation, New Delhi
Mr Allana, who is the curator of the Alkazi Collection of Photography, spoke on the topic 'Performance for Camera: Early Studio
Photography in Mumbai'Lecture by Ms. Moira Gemmill, Director, Projects & Design, V & A Museum, London
Ms. Gemmill gave a presentation on ‘FuturePlan’
- V&A’s ambitious redevelopment project
Lecture by Dr. Colin Cunningham, Chairman, Victorian Society, United Kingdom
Dr. Cunningham gave a
lecture on the topic of ‘Victoria & Albert Museums In London and Mumbai - A Reflection Of Nature Of Museum And Their Buildings’
Lecture by Mr. Nilabh Sinha, Director INTACH Art Conservation Centre, New Delhi
Mr. Sinha spoke on the topic of the Conservation of Oil Paintings Lecture by Dr. Vidya Dehejia
Dr. Dehejia gave an illustrated talk on ‘Whose Taste? Indian Silver for the Raj’
, which explored the different facets of production and consumption of Indian silver during the 19th century. Dr. Dehejia is the Barbara Stoler Miller Professor of Indian Art at Columbia University, New York. She was the Curator at the Smithsonian Museum’s Freer and Sackler galleries which hold large collections of Indian art.Lecture by Dr. Mark Evans, Victoria & Albert Museum, London
Dr. Evans, who is presently the Senior Curator, Paintings, at the V&A and an authority in Renaissance painting, gave a lecture on 'Image And Identity: Asia And The UK As Reflected By The Art Collections Of The Victoria And Albert Museum' Lecture by Ms. Sandra Smith, Victoria & Albert Museum, London
Ms. Sandra Smith, Head of Conservation, V&A, presented a lecture on 'Conserving the Collections in the V&A: Discovery and Revelation'
. The talk highlighted the role of the Conservation Department in the preparation of the collections for display within and beyond the V&A. Lecture by Professor Partha Mitter
Professor Mitter, Professor Emeritus at the University of Sussex spoke on the ‘Foundations of Modern Art in India: Amrita Sher-Gil, Rabindranath Tagore and Jamini Roy - 1922-1947’