NAGUESH
RAO SARDESSAI
"Power is the ultimate aphrodisiac" once said US Diplomat, Henry Kissinger. Just replace the word
‘power’ with ‘cinema’ and this famous quote fits the Indian bill.
Cinema in India is akin to Aphrodisiac. Indians are very
animated in their talk, are loud and emotional, and tend to exaggerate and
sound other–worldly. Popular cinema in the country is the exact reflection of
the average lifestyle albeit in a very larger than life format.
Cinema, in a country that has abject poverty and rationed
ray of hope, works as an intoxicant aiding the populace to forget their woes
and gives them the energy to carry on in spite of the odds.
If Dadasaheb Phalke is considered to be the pioneer of
commercial films in India then Ardeshir Irani comes close to him for releasing
the first Indian talkie in the year 1931. The journey from ‘Raja Harishchandra’
to ‘Alam Ara’ took exactly eighteen years and the rest is history.
And if it is history, then it’s but natural for art
historian and film enthusiast Apurva Kulkarni art historian Naina Bandekar to
dive into this pool of audiovisual wealth and come out with such path-breaking
exhibition titled ‘Bioscope – a Tribute to Indian Cinema’ that’s currently showing
at the ‘Maquinez Palace’, Panaji.
Apurva along with art historian Naina Bandekar brainstormed
and conceptualized an informal initiative called ‘Bija’ about two and a half
years back. This was consecrated (the word is deliberate for it brought an unique
experiment to fore that seemingly altered the prism of visual art in Goa) a
year back with overwhelming response from the public as well as art
connoisseurs.
This experiment emanates good omen. Almost eighteen months
of mentoring process that Apurva and Naina engineered, preceding the formal
launch of ‘Bija’ curiously reflects the eighteen years of journey from silent
to talkies in the cinema world.
It plainly predicts the path ‘Bija’ will tread upon – the
path towards huge success. The current exhibition, that is running parallel to
IFFI 2013, is their third offering. Bioscope was the early form of
motion-picture projectors used in 1900. Here, Apurva seems to have struck a
cord by going to the basics and hence the title – ‘Bioscope’.
‘To use the metaphor of filmmaking process,’ says Naina,
‘Bioscope involved a producer, director and four actors.’ Whilst Naina
functioned as a facilitator by handling the logistics involved in such
promising projects, Apurva - whose contribution as an artist, art historian,
art educator, pioneer of performance and conceptual art in Goa and respected
curator of unique art shows – was called on to play the role of a
director.
Harmony award winner and
extremely talented Rajeshree Thakker, noted print maker and leading artist
Viraj Naik and the two artists of Bija's debut project Praveen Naik and Vasudev
Shetye played the role of the actors.
These artists have created art
works based on films as wide ranging as Albert Pinto Ko Gussa Kyon Aata Hai? to
Dum Maaro Dum and from Elipatthayam (The Rat Trap) to Kaminey and benchmark
film - Sholay.
‘Two films served as parentheses for the entire project - Harishchandrachi Factory, a Marathi bio-pic of Dadasaheb Phalke written and directed by Paresh Mokashi in 2009 and Supermen of Malegaon, a Hindi documentary made in 2012 and written and directed by Faiza Ahmad Khan featuring Nazir Shaikh, an unusual small town film maker from Malegaon,’ writes Apurva, to buttress his point, in the Catalogues raisonnés. He further explains, ‘At the risk of over-simplification these films say everything about the creative and industrious aspects of film making in India.’
These films actually cover the genre from serious to kitsch
and from profound to profane. A tribute to 100 years of Indian cinema cannot
suffice without the inclusion of every ism from the oeuvre. The exhibition here
offers a kaleidoscope view of the Indian films and trends.
The artists here have internalized the films that they saw
and externalized their interpretations in their individual style. They seem to
have connected with the soul in them and produced some stunning works.
Soft-spoken Vasudev has focused on films projecting the undercurrent happenings
and cascading effect it has on the Goan society. Focusing on the menace of
abuse of narcotic substances and unabashed desire to attain quick success and
quicker wealth.
‘Avatar’ based and ‘Mai Udna Chahati Hoon’ reflects on that
reality. A Frankenstein out to swallow the younger generation is juxtaposed
with an incarnation faintly resembling the imagery of Lord Vishu’. ‘Mother
Milagrenia’, based on the notable film ‘Trikal’, illustrates the plight of a
woman, used and abused, by the landed gentries. He’s an artist who fuses the
period with the contemporary.
A frame, translating into a window, with movable slats simulating a Venetian blind that alternately reveals faces of two men in the movie Doosar Adami or a scroll inserted in a niche in the painting displays her guts to break the convention notion of painting. One of her work, that has a Pop art feel, is neatly developed tapestry of portraits of contemporary movie stars that she admires. ‘Four Elements’ speak of the inevitability of death that she picked up from the film ‘Trikal’.
Viraj Naik has successfully encapsulated the essence and personality of each character with relevant forms juxtaposed with it. Talent of actors of yesteryears stands vindicated through graphite images of these heroes. Nilu Phule amidst concubines, superstar Amitabh Bachchan posing against a horse, or for that matter, southern superstar Rajnikanth rubbing shoulders with law enforcer are some of the startling images that draw ones attention.
Viraj transplants his printmaking expertise in his graphite drawings. The exhibition features a sequence from Tukaram through an etching print. Phantasmagoric and hybrid images usually found in his works get transported here to play a more sober and subtle role.
Greatly inspired by ‘Sholay’, Viraj has tried to highlight the negative. A sculpture of a foot on a pedestal punctured by piercing nails speaks for it. Another installation, inspired by a movie based on AIDS, has a torso of a man ruptured at the ribs and burned on the sides caged in a spider’s web articulates the pain of the victim and attitude of people around him.
Pravin is the only artist to attempt touching non-Hindi movies and in a way goes Pan-Indian. ‘Mera Nam Joker’ has a take on the audacity of people poking fun at images, personalities and issues that they are absolutely, many a times, unaware or ignorant about.
‘Bandit Queen’ has metaphors and a poignant statement against the feudal system and caste structure laced and bathed in amusing hue. Donkeys lazing over a hookah shot against pinkish floral background that holds multiple guns. The guns have an engraved image of Phoolan Devi, the former queen of Chambal, formed out of bellowing smoke from the hookah.
‘Black’ is a very cerebral work with minimal pictorial intervention and rationed imagery. Whereas, ‘Harishchandrachi Factory’ pays tribute to Dadasaheb Phalke. An iconic black & white scene from the film hovers over two pillars, which Phalke personally painted for the film. Gold painted steps lead to the avalanche of film reel suggesting the golden threshold film enthusiast and critics talk of.
If Vasudev is emotional and touchy, Pravin is cerebral and analytical. Viraj is enamored with the other, especially the grey areas in a person as against Rajeshree who is emotional, cerebral and innovative all at the same time. Each of these artists, with the gentle yet very apt support from the curator, Apurva and facilitator Naina, has produced commendable works that showcase the best of Goa.
Hai and Trikal. The visual dexterity is an analytical collage of the ‘reel’ and ‘real’ world of Praveen Naik himself. He uses fabric and architectural elements, exploring the suggestive interplay and cryptic reticence of images.
Ms. Nayna Bandekar affirmed she was “totally satisfied with the creative projection of works which were at par with international standards.”
The show will be on view till November 30.
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