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Art for Concern to Host Two-day Traditional and Folk Art Exhibition in Delhi

This exhibition of Traditional and Folk Art is an attempt to showcase the indigenous art forms and artists, and ensure that their legacy endures

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New Delhi, November 21, 2016: The capital is all set to witness a two-day exhibition of traditional and folk art from across India, including Kalighat paintings from the east, Kalamkari from Andhra Pradesh and Chola bronzes from Tamil Nadu, on December 2 and 3.

The event is being organised at the Balassi Institute, Hungarian Information and Cultural Centre, by Art for Concern.

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This exhibition of Traditional and Folk Art (TAFA) is an attempt to showcase the indigenous art forms and artists, and ensure that their legacy endures, the organisers said.

The show features traditional and folk artists like Manisha Jha, Rajendra Shyam, Kailash Chand Kumawat and Jijulal.

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The exhibition brings together traditional art from across India, giving a window of exposure to the dying forms that represent the fascinating folklore of each region. Here you will find Mata ni Pachedis from Gujarat and Kalighat paintings from the east next to Kalamkari from Andhra Pradesh. Madhya Pradeshi Gond works will hang besides striking Chola bronzes from Tamil Nadu, Phads and Pichwais.

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“In their myriad forms, these traditional arts serve as essential documentation of India’s longstanding cultural heritage. Their legacy is not to be ignored. Yet a lack of patronage forces artists to look for alternative means of income, with the result that their work threatens to become a thing of the past,” the organisers said in a statement.

Art for Concern was initiated by Concern India Foundation in 1999 as a fundraising platform and a medium to promote established and upcoming Indian artists. (IANS)

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Artist Renuka Rajiv Takes on Society, Gender Through Personal Narrative

Rajiv, who narrates not verbally but visually, says the "need for the visual arises from a need to communicate, but this need to communicate remains outside the realm of verbal languages."

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Rajiv described the prints as a "cathartic series" made while living in Melbourne. Flickr Commons

Exhibiting the interplay between words and visuals, a solo show by artist Renuka Rajiv critically chronicles and comments on matters of sexuality, gender, physicality and notions of family and relationships via personal narratives.

“The Future Is Not My Gender” is a multidisciplinary exhibition, showing different renditions of fabric and paper using drawings, paper mache, tie-dye and embroidery.

It is on at the Vahdera Art Gallery here till August 18.

It includes a large body of textile and embroidery works, sculptures, and twenty four monotypes selected from a larger series of three hundred prints.

The fabric works are mostly made with old garments of the artist’s family and friends.

Artist
“The Future Is Not My Gender” is a multidisciplinary exhibition. Flickr Common

“This is a moment in a long-term exploration of expressing the aspects of my reality that are outside the material world,” the Bengaluru-based artist said about the exhibition.

Rajiv described the prints as a “cathartic series” made while living in Melbourne.

Some drawings also weave visuals with verbal interjections — sharp observations around gender and sexuality within the larger social context.

“With a strong inclination towards the spontaneously created “hand-made” works, the exhibition accommodates the imaginative, observational and autobiographical,” Vahdera Art Gallery said in a statement.

Rajiv, who narrates not verbally but visually, says the “need for the visual arises from a need to communicate, but this need to communicate remains outside the realm of verbal languages”.

Also Read: US Painted in New Colours By a Refugee Artist

Rajiv was the recipient of the Emerging Artist Award (EAA) 2016, awarded by the Foundation for Indian Contemporary Art (FICA) in collaboration with Pro Helvetia, the Swiss Arts Council.

The exhibition is a culmination of the award process including a three-month residency in Switzerland in 2017. (IANS)