South Asian Network

Khoj Kasheer - 2007

hemant — Mon, 05 Nov 2007 00:49:26 -0500

Khoj Kasheer - 2007

Khoj 2007 International workshop is being held in Srinagar, Kasheer at "Gulshan" (Aga Manzil),Lalmandi between 29th October to 12th November.

Manoeuvering Miniatures

khoj studio — Wed, 11 Apr 2007 10:40:00 -0400

Manoeuvering Miniatures

Manoeuvering Miniatures is a highly coded and deeply provocative exhibition held in 2001. Alternatively satirical, political, witty and subversive, this small but tightly curated exhibition simultaneously delights and provokes.

South Asia Network Update :Remembering violence to write a personal history

hemant — Thu, 01 Nov 2007 05:36:17 -0400

Art of Pradeep Chandrasiri: "Remembering violence to write a personal history" >>The fourth exhibition of the "Theertha Pradarshana Wasanthaya" Preview at Red Dot Gallery > 36 A, Baddegana Road South, Pitakotte, Colombo on Sunday,4th November 2007 at 6.30 pm.The exhibition will remain open from

ASIAN CONNECTIONS (Chairperson’s introductory address for session I of the public forum on November 18, 2001)

hemant — Wed, 02 May 2007 12:31:40 -0400

IN THE PAST TWO DECADES a common set of concerns about definitions and about relationality have emerged in art literature and cultural studies. I will speak from these, not from a specialized knowledge of art practice.

Geography of Definition

South Asian Dialogue -Chairperson’s address for session II of the public forum on November 18, 2001

hemant — Wed, 02 May 2007 12:28:59 -0400

Chairperson’s address for session II of the public forum on November 18, 2001

BETWEEN A POLITICAL SOCIETY AND A CONSUMER SOCIETY (The Intentions and Attitudes of Chinese Artists)

hemant — Wed, 02 May 2007 12:26:42 -0400

The history of contemporary Chinese art over the last decade reflects the great complexity and vibrancy of a changing society. Especially after the 1990’s this complexity has been visible in the breakthrough being made within traditional art methodology and theory. It is also visible in the broader and more holistic conceptualisation of Chinese artists.

SITES OF ART: OTHER SITES, OTHER LOCATIONS

hemant — Wed, 02 May 2007 12:24:23 -0400

Scores of women draw auspicious alpanas, rangolis or kolams on their doorsteps or courtyards with wet or dry pigments on festive occasions. A Tamilian housewife may draw it every morning throughout the year, often with rice powder trickled through gaps of her fist in dual or triple lines whether she is in a village or an apartment in a city. The magical motifs get effaced during the day, the bits of rice carried home by an army of ants to make room for a new pattern to emerge the next day.

THE MOMENTS OF IMPACT: The art of ‘90’s trend’ in Sri Lanka

hemant — Wed, 02 May 2007 12:22:43 -0400

The last decade of the 20th century saw the emergence of a diverse and multifaceted sophistication in the Colombo centred visual art culture in Sri Lanka. A whole generation of artists equipped with a range of new ideas and concepts on art, themes for artistic investigation, and especially with an understanding of the idea of the artist as a political individual has come to dominate the art scene in Colombo.

‘WE SINFUL WOMEN’ - The Story of Pakistani Women Artists

hemant — Wed, 02 May 2007 12:20:39 -0400

Surveying the last fifty years of Women’s activity in the visual arts in Pakistan, one becomes aware of two distinct places. The first two and a half decades constitute a period in which women pioneered and widened the discipline of art education. In the newly founded state of Pakistan, art was hardly distinguished from craft at the official level, and the status of painting in the public domain was yet to be determined. Being a peripheral activity at that stage, it could safely be left to women.

Co - existing Cultural Management

hemant — Wed, 02 May 2007 12:19:16 -0400

The role of the art institution in society at large dates back to the 1950s when modern art was introduced to the Thai academic system by the Italian sculpture, Corrado Ferroci. Artistic practice developed slowly without an infrastructure since neither the government nor the private sectors helped set it up. There were few art schools, museums or arts’ organizations to serve as a body to support and promote the art awareness in society.