Kolkata, More than 200 works by Indian modernist KG Subramanian, including his iconic reverse paintings on acrylic and maquettes for his powerful mural 'The Walk of the Relics', are part of a new retrospective-scale exhibition at Imam Art here .
'One Hundred Years and Counting: Re-scripting KG Subramanian', curated by Nanak Adajania and organized by Emami Art in collaboration with the Seagull Foundation for the Arts and the Faculty of Fine Arts, MS University, Baroda, to mark the artist's birth centenary. Marks. ,
Showcasing over seven decades of Subramanian's practice, the exhibition includes his early paintings of the 1950s, his impressions of his trip to China in the 1980s in postcard-sized paintings, toys made for fine art fairs at MS University, Baroda And one is included. Significant amounts of archival material such as handmade mock-ups of children's books and preparatory sketches for murals.
The aim of the show is to "situate and re-evaluate the artist within the larger cultural landscape of post-colonial India's emerging modernism and reaffirm the continued relevance of his practice".“Widely respected for his profound scholarship and intellect, he was a versatile artist who made one of the most fundamental contributions to modern art practices in post-independence India, creating a powerful language that is highly eclectic.
"The exhibition aims to present the master in a new light, forging relationships and opening new avenues of discourse and debate," Rich Agarwal, CEO of Emami Art, said in a statement.
Born in Kerala in 1924, Subramanian played an important role in shaping the artistic identity of India after independence.
After graduating from Kala Bhavan, Visva-Bharati University, Santiniketan in 1948, he worked under stalwarts like Benod Bihari Mukherjee, Nandlal Bose and Ramkinkar Baij.
Subramanian taught at MS University, Baroda, before returning to his alma mater at Santiniketan as a professor in 1980.Talking about Subramanian, Adajania said the centenary year provides an opportunity to consider the less obvious aspects of the artist's oeuvre that have consistently been deprived of critical attention.
“In his work, he engaged with the legacies of Gandhi, Tagore and Nehru in both overt and subtle ways. Today, all these figures have either been neutralized as symbols emptied of content or discredited as carriers of historical error.
Adajania said, “In such a state of permanent emergency, it becomes important to revisit the practice of an artist-activist like Subramanian – who taught us to address the past as critical agents rather than puppets of suppressive traditions.”
The exhibition showcases his political works, including his terracotta commemorating the 1971 Bangladesh War and his children's book, "The Talking Face", criticizing the 1975–1977 Emergency.Adajania said that these works of Subramanian should be seen as part of his continuing process of "political philosophy" rather than as single reactions to political events.
The exhibition will also focus on Subramanian's working process through archival material, including mock-ups of his children's book, "When Hanu became Hanuman", as well as his preliminary sketches for murals with textual and visual marginalia. Which reveal their ideological connection. Gandhian concept of an ideal village.
“The show will avoid the pitfalls of the biography, by highlighting the contradictions and dilemmas in his evolving political stances. In this context, Subramanian’s dual perspective on female agency and sexuality will also be associated with a critical spirit throughout the show,” Adajania said.The exhibition will end on June 21.
'One Hundred Years and Counting: Re-scripting KG Subramanian', curated by Nanak Adajania and organized by Emami Art in collaboration with the Seagull Foundation for the Arts and the Faculty of Fine Arts, MS University, Baroda, to mark the artist's birth centenary. Marks. ,
Showcasing over seven decades of Subramanian's practice, the exhibition includes his early paintings of the 1950s, his impressions of his trip to China in the 1980s in postcard-sized paintings, toys made for fine art fairs at MS University, Baroda And one is included. Significant amounts of archival material such as handmade mock-ups of children's books and preparatory sketches for murals.
The aim of the show is to "situate and re-evaluate the artist within the larger cultural landscape of post-colonial India's emerging modernism and reaffirm the continued relevance of his practice".“Widely respected for his profound scholarship and intellect, he was a versatile artist who made one of the most fundamental contributions to modern art practices in post-independence India, creating a powerful language that is highly eclectic.
"The exhibition aims to present the master in a new light, forging relationships and opening new avenues of discourse and debate," Rich Agarwal, CEO of Emami Art, said in a statement.
Born in Kerala in 1924, Subramanian played an important role in shaping the artistic identity of India after independence.
After graduating from Kala Bhavan, Visva-Bharati University, Santiniketan in 1948, he worked under stalwarts like Benod Bihari Mukherjee, Nandlal Bose and Ramkinkar Baij.
Subramanian taught at MS University, Baroda, before returning to his alma mater at Santiniketan as a professor in 1980.Talking about Subramanian, Adajania said the centenary year provides an opportunity to consider the less obvious aspects of the artist's oeuvre that have consistently been deprived of critical attention.
“In his work, he engaged with the legacies of Gandhi, Tagore and Nehru in both overt and subtle ways. Today, all these figures have either been neutralized as symbols emptied of content or discredited as carriers of historical error.
Adajania said, “In such a state of permanent emergency, it becomes important to revisit the practice of an artist-activist like Subramanian – who taught us to address the past as critical agents rather than puppets of suppressive traditions.”
The exhibition showcases his political works, including his terracotta commemorating the 1971 Bangladesh War and his children's book, "The Talking Face", criticizing the 1975–1977 Emergency.Adajania said that these works of Subramanian should be seen as part of his continuing process of "political philosophy" rather than as single reactions to political events.
The exhibition will also focus on Subramanian's working process through archival material, including mock-ups of his children's book, "When Hanu became Hanuman", as well as his preliminary sketches for murals with textual and visual marginalia. Which reveal their ideological connection. Gandhian concept of an ideal village.
“The show will avoid the pitfalls of the biography, by highlighting the contradictions and dilemmas in his evolving political stances. In this context, Subramanian’s dual perspective on female agency and sexuality will also be associated with a critical spirit throughout the show,” Adajania said.The exhibition will end on June 21.
