Art Space And Props

Review of the exhibition during Pune Biennale 2017 with the nostalgic re-presentation of Pune’s celebrated artist’s studios.

Re-presentation in the world of visual arts has become a convoluted term, trying to mean many different things at different moments. However, the term used here is with its primary meaning of presenting again. The re-presentation of observed studio-based practices of visual artists belonging to the diverse genre, falling in the frame of yester centuries.  The exhibition Art Space and Props formulated by the Pune residents, artist Nitin Hadap, designer Pramod Riswadkar and graphic designer Abhay Joshi during the Pube Biennale at Pt. Bhimsen Joshi Kaladalan, displays a well-researched perception of the artists’ studios who have been a significant part of the evolution of visual arts in Pune. The re-presented studios belong to the artists hailing from the baithak systems to the modern styles viz. court painter Gangaram Tambat, academic painter Gopal Deuskar,  painter and ceramist Bal Wad, photographer W N Bhat, academic sculptor Dattatray Khatavkar, and modernist Vijay Shinde.

The exhibition format is an educative one with apt infographics and supplementing visuals along with the keenly arranged central studio booth setups belonging to each aforesaid artist. The exhibition makes good use of current printing and installation technology to justify the descriptive yet insightful research performed on the habitational activity of studio practices. It is indeed a challenging job to weave a story that evolves over a long period of time, with several socio-economical influences, and most importantly the unique style of each artist.

The curators’ primary objective was to create the ambience of the working studios. “The aim is to provide the spectator information related to props space and ambience under which they worked. Our endeavour was to furnish a view which provides clue about these interactive aspects and elements with an integrated approach while taking a note of visual forms.”, says the trio.

One important aspect is to make the distinction between the seating and standing posture based practice that informs the work. The standing or sitting posture and gestures have an inherent effect on the work of art. Abundant space is required in the process of creation of abstract art. High level of discipline is maintained while doing a portrait in an academic style. A photo-studio along with studios of painters provided a unique experience. Evolution of Visual Arts of Pune could be noted and studied through the works of the eminent artists who represent their genre as well as the period.

The paintings of the Peshwa court painter Gangaram Tambat (c.1790) trained under the British academic style provide evidence of his mixed visual language reflected from the standard practice of sitting on the floor and making small sized paintings. One may look at Gangaram as representative of his age.

A master of western technique, Gopal Deuskar’s studio presents us with placing the canvas on the easel, working in standing or seated posture, sketching from life, standardised painting procedures along with colour sequencing and such other techniques. His works had a marked influence on academic style. The studio is re-presented similar to the predetermined positions of British style.

Bal Wad having a dual practice of painting and ceramics his studio displays a combination of both methods. With a job experience of serving as an Art Director in M/s Camlin (I), he had acquired in-depth knowledge of material and media.

W N Bhat who owned a professional studio at Laxmi Road in Pune was the pioneering spirit behind starting an educational program in Photography at Fergusson College, Pune. His camera caught the subtle moods of many eminent personalities, such as Pt. Jawaharlal Nehru, Mrs. Indira Gandhi, eminent sitarist Pt Ravi Shankar and lot many others. Thus, it is pertinent to include the studio of a photographer in the timeline of the visual evolution of Pune.

Eminent sculptor popular for his contributions for the festive installations, Dattatray Khatavkar’s studio carried that Fibre-glass which has a slightly pungent smell occasionally. His studio used to be replete with casting moulds, half-done yet to be finished articles, lumps of mixed wet earth and like. He designed on his own innumerable tools and gadgets and crafted them himself.

A deep impression is observed of modernist Vijay Shinde on Pune’s young artists. He created awareness, injected curiosity and developed their understanding of Modern art. His method of creating abstract paintings was a bit complicated. He used to mix paint on pallets using a roller for getting the desired effect. He gestured his body in a specific manner for large strokes on canvass and balanced technique and unimaginable effect. He used to spread his canvas on ground and paint.

The curators behind this notable display adorn positions of significant academic importance. Nitin Hadap is an artist and HOD of Fashion Designing Department, MNVTI, MKSSS, Pune; with a specialised interest in Indian Art History and the History of Modern Art. He has a Ph.D. in archaeology on the subject ‘Composite Motifs in Indian Art’.

Pramod Riswadkar is a designer by profession, with professional experience in the industry as well as academia. He has worked with several industries and was associated with Symbiosis Institute of Design, as HOD (Communication Design).

Abhay Joshi is a practicing graphic designer with a wide range of experiences in print-media spanning more than two decades. He is associated with MKSSS – Manilal Nanavati Vocational Training Institute for Women, Pune as a Visiting Faculty.

With the first step of this exhibition conducted during the Pune Biennale, the trio intends to expand their research and incorporate wider dynamics of the studio practices regionally as well as conceptually.

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Art & Education Goes For A Toss!

An overview of the education scenario of visual arts in Maharashtra through the lens of recent movements in the state.

Is Art a way of Education? Does teaching Art, help education?

The phrases of ‘death of art’, ‘death of painting’ keep surfacing now and then to check the validity of art praxis in general and certain practices in particular. The statements of this type impress the idea of redundancy and either invalidate or question the implications of the ideas already in practice. A similar questioning is imposed on the validity of art education and its current pedagogical modes of dissemination, throughout the nation. The objections are mostly displayed informally and the wise who object find cover under their dogmatic routine. The people who have been registering their formal objections are observed to be doing so under the protocols of their employment. However, the present case study does not lie in this clear binary of formal or official actions versus informal movement for pedagogical revision supplied with vested personal benefits or communal welfare. The article does not attempt to find immediate solutions or direction for actions but to assess and table the complex cold turmoil evident through various societal movements.

38th School Art Educators, Sangli, Maharashtra

The discussion here emerges from my visit to the annual art educators’ seminar conducted on 29, 30 April 2017 at Sangli, Maharashtra in the premises of Kalavishwa Mahavidyalaya. Nearly four hundred art educators associated with state-run primary and secondary schools and some private trusts participated in the seminar. The entire activity raised some serious queries pertaining to the role of ‘institutions’ in art education. Due to a keen interest in art education I, in general, was curious to discover the concerns addressed and understand an overall modus operandi of the art teachers associations. The subject being layered, my concerns extend to art education and the diverse ideas relating to formal academic art education, schooling as well as informal learning.         

While we live in the atmosphere of the so-called contemporaneity, the mainstream art world, itself, is full of anxieties regarding the practices relying on technological advancements, identity crisis, societal concerns as well as differences and political struggles. While art education is an integral part of this climate, the scenario could be categorically comprehended through school level education and formal academic education. Art education is further influenced by the factors of State administrative system accompanied by the vague willingness of the personnel for the development of the creative sector. In the year 2015, the state government of Maharashtra passed a resolution declaring to stop new appointments for the posts of art and sports teachers, and to hire them on visiting basis or as guest faculty providing them remuneration of Rs. 50 per session. This induced anxiety among the candidates from all over the state, especially from rural regions who had aspired to be employed as teachers. The candidates, completing their Art Teacher Diploma (ATD) or Diploma in Art Education (Dip. A.Ed.), were suddenly rendered jobless by the state. Several trials of sporadic efforts are made to revoke the decision, on regional levels. The Art Teacher’s Association of Maharashtra, its office in Pune, has been chasing the respective authorities for justice, right from the Directorate of Art, Mumbai to the Cultural and Education Ministry. The excitement was further enhanced by reducing the teaching classes from six classes to four, and recently it has been further cropped to two classes per week. The teachers are of the opinion that in order to make the children prepare and start working on the given subject itself takes considerable time. This allows very little scope for any sorts of creative engagement or skill development. The annual surveys published in the newspapers boast of increasing aptitude of students towards Fine Arts as compared to the conventional streams of Science and Commerce. Given this piece of information, numerous students appear for the grade examinations, the grades of which help in the increased marking of the matriculation exams. While the scope of learning the subject is highly limited in these state board schools, the tuition mania brawls all over the suburbs promising great grades. As an effect, the urban ‘drawing’ teacher finds a rich source of income besides the school salary!

Although the economics appears to be interesting, the question of the ‘content’ being shared or learned as art is dubious. As per the prevalent, most students and teachers learn from a state-approved drawing-book full of prescriptions for each sub-subject. On one hand, where the contemporary art has superseded human comprehension of what art is, on the other hand, the domestic school is still preaching from the old testaments. Further, the threat to the jobs of the employees teaching also annotates the chaos. Thinking of the progressive International Baccalaureate (IB) schooling for arts, it brings in a whole new mechanism of learning by excerpts through the popular art history. The parents are satisfied to see their ward successfully imitating a Van Gogh or a Picasso or an Art Deco or an Art Nouveau object. One cannot discount the exposure to art history and ever the same one must not discount child-centric learning where the fact sustains that children learn based on their own inclinations and not for the sake of getting ‘educated’.  However, it is not righteous to jump to a conclusion declaring the genuine efforts taken by fellow art educators and inferring to be redundant. Perhaps their honest efforts are the avenues of encouragement for aspiring artists.

The seminar at Sangli reiterated the protection of employment and emphasised on new recruitment to ensure continued art education and promotion of artistic faculties. Several political leaders and officials from the Education Department extended their support to the existential struggle. The seminar brought together art educators from several regional pockets of Maharashtra and the representatives of the same had organized visits to the Directorate of Art, Mumbai and public rallies to the Ministry to make their demands heard by the authorities. It was in vain. The central association based in Pune has approached the house of law to resolve their drudgery with the hope that the bureaucracy heeds to their demands by reason.

Upon considering the second category, of art colleges in Maharashtra, the scenario grows more complex. One has witnessed several strikes called by students and institutes like Sir J. J. School of Art, Mumbai, Abhinav Kala Mahavidyalaya, Pune, Raheja School of Art, Mumbai etc. demanding basic requirements of regular teaching staff and fundamental facilities.

Perhaps, the situation has encouraged self-learning among students who, being independent, seem to progress in their artistic careers. Though there are efforts made to improve the pedagogy, the system or means of imparting the revised curricula to the teaching staff and its implementation in the learning arena is not observed to be efficient enough. Further, the body responsible for upgrading and maintaining the status of art education in the state is, generally, either devoid of a responsible head or held by a person from a non-arts background with a little understanding of art based learning. The state government recently awarded autonomy to the Sir. J. J. School of Art. It has spurred several queries and doubts about the institution’s role and responsibility. The validity of the certifications issued by the Mumbai University to the students, the validity of the Directorate of Art as per the All India Council for Technical Education (AICTE) or UGC norms are being questioned. Though the responses to all these doubts raised are unclear, the pressing question is whether Art is considered a free activity or is it a free time activity?

Art history has witnessed suppression of freedom in many instances and artists have always managed to find their niche or vent to establish their ideas through their creations. In the wake of the latest technological breakthroughs, the avenues of expression and creative experiences have diversified sporadically. While the faculty of art education and its future seems grim, we can be optimistic of the engines of Biennale, art fairs, and digital educational programming to bring about a different perspective and usher positive change where interdisciplinary functioning is a primary mode of functioning.

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कला नियोजन: दृश्यकला क्षेत्रातील जुने पण नवे उद्योग प्रणाली

कला ही मुक्त, स्वच्छंदी आणि ललित असण्याचे आपण सगळे जाणतो. हे जरी वास्तव असलं तरी सांस्कृतिक व सामाजिक दृष्टीने कलात्मकता, सांस्कृतिक वारसा, रसिकता, मनोरंजन इ. आपल्याला समजेल अशा रीतीने पोहोचवण्यासाठी जी व्यवस्था कार्य करते त्याला आपण कलेचे व्यवस्थापन असे म्हणतो. या व्यवस्थापनेत सजग आणि संवेदनशीलरीत्या काम करणाऱ्या व्यक्तीला कला नियोजक किंवा कला व्यवस्थापक असे म्हणू शकतो. समकालीन आणि ऐतिहासिक वारसा, पुरातन वाङ्मय, शिल्प, चित्र, भित्ती चित्रे, स्थापत्य, काव्य, अनेक घराणे किंवा तांडा यांच्याकडे परंपरागत चालत आलेल्या चालीरीती, भौतिक जीवनाशी निगडित वस्तूंची परंपरा, धार्मिक किंवा शुभ प्रसंगी म्हटली जाणारी पदे, गीत, ओव्या, नाटय़ आणि नृत्य प्रयोग, वस्त्रालंकार, वेशभूषा, खाद्य पद्धती असे विविध विषय कला नियोजनाच्या कार्यात समाविष्ट होतात. कला नियोजकांचे प्रचलित रूप म्हणजे विविध समारंभांचा आयोजन कर्ता म्हणून, पण आज नियोजकांची जबाबदारी सांस्कृतिक घडामोडींना दिशा देण्याची आहे. सांस्कृतिक वारसांच्या संगोपनाला UNESCO व UN, SAARC अशा अनेक प्रमुख संस्थांकडून जागतिक पातळीवर प्राधान्य मिळत आहे. या लेखातून कला नियोजनाचे कार्य कशा पद्धतीने घडते, त्यातील सामाजिक, आíथक आणि वैयक्तिक प्रगती या व इतर अनेक मुद्दे समजून घेता येतील.

कला नियोजन ही संस्कृतीच्या प्रवाहात सातत्याने कळत नकळत प्रयोगात असलेली संकल्पना आहे. आपल्या सोसायटीत होणारे सांप्रदायिक कार्यक्रम हेसुद्धा काही अंशी कला नियोजनच. हे व्यासपीठ जिल्हा ते आंतरराष्ट्रीय पातळीवर जेव्हा उपलब्ध होतो तेव्हा त्या मागे विविध कार्यक्षमता, अद्ययावत तंत्रज्ञानाची ओळख, समाज व्यवस्थेचे भान, स्थानिक-जागतिक राजकीय स्थिती, सांस्कृतिक घडामोडींविषयी सजगता हे अत्यंत महत्त्वाच्या बाबी आहेत. औपचारिकरित्या कला नियोजकांचे कार्य आपल्याला वस्तू संग्रहालये, कला दालने, सांस्कृतिक संस्था, ग्रंथालये, संगीत, नाटक, सांस्कृतिक संमेलने, मोठय़ा कंपन्यांमध्ये असलेले सांस्कृतिक विभाग, लिलाव घर आणि डिजिटल मीडिया अशा विविध ठिकाणी आढळते. संग्रहालय, कला दालन अशा ठिकाणी त्यांना क्युरेटर, किपर, गॅलरी सहाय्यक, शिक्षण अधिकारी या पदांवर कार्य करताना आढळतात. संगीत, नाटक, सिने-कार्यक्रम, मुलाखत यांच्या प्रस्तुती मागे सर्व प्रकारच्या नियोजनाचा भार सांभाळणारे मॅनेजर्स, प्रोग्रॅम ऑफिसर (कार्याधिकारी) व त्यांच्या सोबत काम करणारे सहाय्यक हेसुद्धा कला नियोजकच होत. लिलावघरांमध्ये मोठय़ा प्रमाणात कला वस्तूंचे आíथक देवाणघेवाण होत असल्याने कलेचे जाणकार, अभ्यासक, अर्थशास्त्राचे ज्ञान असणाऱ्या व्यक्ती या ठिकाणी विविध पातळीवर कार्य करतात. मोठय़ा उद्योग समूहांमध्ये उरफ  अंतर्गत शिक्षण, सामाजिक विकास योजना राबविल्या जातात ज्यामध्ये कला ही शैक्षणिक पाश्र्वभूमी असलेल्या व्यक्तींचे कार्य योजनेला योग्य आणि कलात्मकरीत्या राबवण्यासाठी महत्त्वाचे ठरते. त्याशिवाय काही उद्योगसमूह कलासंग्रहदेखील करतात तर काही संदर्भात आंतरराष्ट्रीय वारसांच्या संगोपनासाठी आíथक आणि तांत्रिक साहाय्यदेखील करत असतात. अशा ठिकाणी नियोजकांची भूमिका महत्त्वाची ठरते. जे वेळच्या वेळी घ्याव्या लागणाऱ्या निर्णयांना आपल्या कलेविषयक माहिती आणि संबंधित राष्ट्रीय, आंतरराष्ट्रीय नियमांच्या पालनासाठी आवश्यक उपाय देऊन काळजी घेतात. UNESCO सारखी आंतरराष्ट्रीय संस्था सांस्कृतिक संयोजनाला, सर्वार्थाने समावेशक अशा कला शिक्षणाला प्राधान्य देत आहे. यामागील हेतू असा की, कलेच्या संवर्धनातून सृजन मूल्य आणि सांस्कृतिक वारसा यांच्यातील प्रवाही प्रक्रिया अबाधित ठेवणे.

कला संयोजकांचे कार्य उपरोक्त क्षेत्रांप्रमाणे भिन्न आणि विविधता पूर्ण असू शकेल. कलेचे संवर्धन या शब्दातच अनेक आणि विस्तीर्ण असे अर्थ गíभत आहेत. समोर असलेले कला प्रकार, कलाकार, त्यातील सौंदर्य आणि अर्थ-व्यापार, सौंदर्य मूल्य, त्याची व्यापकता, त्या कलाप्रकाराचे आणि स्थानिक जीवनाशी असलेले परस्पर संबंध, त्यात गुंतलेले व्यावहारिक आणि कायद्याची बाजू या सर्व गुणांचा विचार करणे, त्या विचारांना प्रत्यक्ष रूप देऊन सातत्याने आजच्या जीवनात त्याचे महत्त्व टिकवणे हा कला संयोजकांच्या कार्याचे प्रदीर्घ परीघ आहे. अर्थात हे सर्व कार्य वेगवेगळ्या पातळींवर, क्षमतेनुसार, इच्छा, रस, चिकाटी, उपलब्ध संसाधनांच्या आधारे सुरू राहणारी धडपडी क्रिया आहे. होतकरू आणि जिज्ञासूंना असे प्रश्न पडत असतील की, अशा परोपकारी कार्य करणाऱ्या लोकांचे घर कसे चालत असतील? त्यांना मिळणारा मोबदला सामान्य जीवन जगण्यास पूरक आहे का? त्यांचे कसे भागते?

लेखात वर सांगितलेल्या उपक्षेत्रांपैकी बहुतेक क्षेत्र ही संघटित आहेत, ज्या ठिकाणी कामाचे स्वरूप आणि व्याप्ती बव्हंशी ठरलेले असतात. बहुतेक ठिकाणी रोजगार कायदे लागू आहेत ज्यामुळे या क्षेत्रात काम करणाऱ्या लोकांना इतर सहकाऱ्यांसारखेच नोकरीचे फायदे उपलब्ध आहेत. असे असतानाच कला क्षेत्रातील अधिकाधिक काम स्वरूपातून घडते. या क्षेत्राशी निगडित लोक मुळातच स्वच्छंदी, मुक्त विचारांचे आणि काही प्रमाणात विक्षिप्त स्वभावाचे असतात. अशा लोकांना नऊ ते पाच कार्यपद्धती आवडत नाही. बरेच वेळेला त्या त्या क्षेत्रांच्या कार्याच्या मागणीनुसार ठराविक वेळा वा मर्यादांचे पालनही शक्य होत नाही. याला आपण डायनॅमिक वर्क सिस्टिम म्हणू शकतो.

कला नियोजक जणू पडद्यामागचे कलाकार असतात. त्यांच्या कार्याची व्याप्ती आणि गुंता कार्यक्षेत्राप्रमाणे बदलणारी आणि त्यासाठी लागणारी शैक्षणिक पात्रता, अभ्यासू वृत्ती हे सर्व भिन्न  असल्याचा अंदाज वाचकांना आलाच असेल. गेल्या काही दशकांमध्ये अशा प्रकारच्या संयोजनाला व कामाला वाव आणि गरज वाढली असून या कार्यासाठी आवश्यक गुणांविषयी जाणून घेऊया.

कलेविषयीची आस्था हे प्रमुख गुण जे कोणत्याही कला नियोजकामध्ये अत्यंत महत्त्वाचे आहेत. समाज आणि संस्कृतींचा पोत याची जाण हे दुसरे महत्त्वाचे घटक. निवडलेल्या कलेच्या निर्मितीचे प्रत्यक्ष अनुभव किंवा निरीक्षण, त्या कलेचा इतिहास आणि आजची वाटचाल, याबद्दल समज आवश्यक आहे. याबरोबरच त्या कलेतील व्यवहाराचे आणि आíथक व्यापाराचे अंदाज असणे अभिप्रेत आहे. संगणकीय ज्ञान, संभाषण कौशल्य, वेळेचे नियोजन, कार्यसिद्धीसाठी सहकाऱ्यांसोबत काम करण्याची तयारी, प्रवासाची आवड, आपले संपर्क वर्तुळ प्रबळ करणे आणि आपल्या वैयक्तिक क्षमता आणि मर्यादांची समज हे सर्व गुण कला नियोजनातही आवश्यक आहेत.

एकूण कला क्षेत्र ही आजवर अनियोजित पद्धतीने चालणारी यंत्रणा राहिली आहे. कलाकार, कला शिक्षण संस्था, कलेला पाठिंबा देणारे रसिक, कला दालने, सरकारी योजना या सर्वाचा ताळमेळ भारतात अजून हवा तेवढा बसलेला नाही. स्वातंत्र्योत्तर काळापासून आजवर हा समग्र कला उद्योग अजूनही संभ्रमात आहे. पण बदलत्या काळानुसार या क्षेत्रातही प्रगतीचे वारे फिरू लागले आहेत. अर्थात जेव्हा कलेला उद्योगाचे रूप दिले जाते तेव्हा कलात्मक स्वातंत्र्यावर मर्यादा आणि शक्यता दोन्ही वाढतात. कलेतून मनोरंजन, नीतिमूल्यांची जोपासना, समाज सुधारणा होणे अशा अनेक अपेक्षा आणि जबाबदाऱ्यांचे ओझे कला आणि निगडित यंत्रणांवर टाकली जाते. योग्य आणि समावेशक अशा योजनेतून या अपेक्षा पूर्ण होण्यास दुजोरा मिळेल आणि सांस्कृतिक संवर्धनाचे कार्य पुढे जाऊ शकेल.

पुढील लेखात कला नियोजनाचा इतिहास, विविध संस्थांमधून दिले जाणारे औपचारिक प्रशिक्षण आणि पदवी, नमूद केलेल्या उपक्षेत्रांमधील कामाचे स्वरूप, संलग्न आíथक, राजकीय मुद्दे या सर्वाविषयी माहिती करून घेता येईल.

Article Publshed in Loksatta

कला नियोजन आणि संधी

NGMA, मुंबई येथे विद्यार्थ्यांसोबत प्रदर्शनांतर्गत कार्यशाळा

कलेची आवड असलेल्यांसाठी कलेची निर्मिती इतकेच काही करिअर नाही!

कला नियोजन ही संकल्पना निरनिराळ्या संस्थांच्या माध्यमातून चालत आलेली परंपरा आहे. विसाव्या शतकापासून या विषयात औपचारिक दखल घेऊन विद्यापीठांमधून पदवी अभ्यासक्रमांना युरोप, अमेरिकेत व लंडन येथे सुरुवात झाली. इतिहासात कला नियोजन हे अनेक पातळींवर आणि सुप्तरीत्या आणि बहुतेक वेळी इतर सांस्कृतिक व्यवहारात समरस असल्याने त्याचा नेमके इतिहास मांडणे अवघड आहे. तरी १९७० नंतर जागतिक स्तरावर दृश्य आणि रंगमंचावरील कलांचा समाजावरील परिणाम ओळखून त्याचे व्यावसायिक, आíथक आणि सांस्कृतिक लाभ घेण्यासाठी या क्षेत्रातील शैक्षणिक अभ्यासक्रमाची सुरुवात झाल्याचे कळते.

कला नियोजन हे व्यावसायिक गरजेतून तयार झाले, ज्यामुळे अपेक्षित कलात्मक परिणाम अगर बदल (समाज आणि कलेत) घडवून आणण्यासाठी, त्या परिणामांचा प्रभाव मोजण्यासाठी आणि निरीक्षणातून पुढील धोरणे तयार करण्यासाठी उपयुक्त साधने प्राप्त होतात. नियोजन आणि नियोजकाचे कार्य दृककला नियोजनाच्या एका उदाहरणातून पाहू या. सध्या कोची येथे आयोजित करण्यात येणाऱ्या आंतरराष्ट्रीय कोची मुजिरीस बिएनालेसारख्या मोठय़ा कला प्रदर्शनाच्या उदाहरणातून नियोजनाचे टप्पे, गुंता आणि व्यवहार समजून घेऊ. पहिल्या लेखात नमूद गुणांखेरीज नियोजनासाठी संयोजक दष्टी हे महत्त्वाचे. प्रदर्शनपूर्व तयारीत प्रदर्शनाची भूमिका – कन्सेप्ट व हेतू, प्रदर्शन स्थळ, आवश्यक आíथक पाठबळ आणि उपलब्धता, कलाकृती किंवा सहभागी होणाऱ्या कलाकारांची निवड, निवड प्रक्रियेचे निकष, स्थानिक राजकीय, सांस्कृतिक धोरणांचा अंदाज घेऊन प्रदर्शनाच्या प्रभाव आणि परिणामांचा अंदाज बाळगणे प्रदर्शनाच्या यशासाठी अत्यंत महत्त्वाचे आहे.

प्रदर्शन वास्तवात आणण्यासाठी गरजेची क्रिया ज्याला लॉजिस्टिक्स म्हणतात असे कार्य म्हणजे प्रत्यक्ष कलाकृतींचा संग्रह असतो. तो त्या त्या कलाकार किंवा संग्राहकांकडून मागवणे, प्रदर्शन दालनात मांडणीचा आराखडा तयार करणे, कलाकृतींचे सुरक्षित वाहतूक, कलाकृतींचा विमा, आवश्यक सरकारी आणि खासगी परवाने, दालनात असणारी विद्युत आणि प्रकाशव्यवस्था, व्हिडीओ किंवा साऊंड मांडणी – कलाकृतींसाठी विशिष्ट वातावरण निर्मितीची, त्यासाठी टीव्ही/ प्रोजेक्टर, योग्य ध्वनिप्रकाश योजना, दालनात दर्शकांना कलाकृतींच्या निरीक्षणासाठी उपलब्ध मार्ग व फलक अशा सर्व बाबींचा नियोजकांच्या संघाला तयारी करणे अभिप्रेत आहे. याव्यतिरिक्त अनपेक्षित अडचणी आणि आव्हानांसाठी अनुभवी आणि चतुर नियोजकांचा संघ असणे, आवश्यक आहे.

प्रदर्शन काळात कलाकृतींच्या संरक्षणासाठी (इजा होणे, चोरी होणे, नसíगक आपत्ती) योग्य ते उपाय करणे अत्यंत महत्त्वाचे आहे. कारण ज्या कलाकृतींना राष्ट्रीय आणि आंतरराष्ट्रीय ख्याती आहे त्यांचे कलात्मक आणि आíथक मूल्य प्रचंड असते. योग्य काळजी घेतली न गेल्याने कलाकृतीचे नुकसान तर होईलच त्याबरोबरच नियोजकांच्या विश्वासार्हतेवरही प्रश्नचिन्ह उपस्थित होते.

प्रदर्शनाचे यश बहुसंख्य दर्शकांच्या सहभागात आहे. त्यासाठी उपयुक्त असे प्रचार – समाज माध्यमे, वर्तमानपत्र, वृत्तवाहिन्या, संकेतस्थळांवर पुरेशी माहिती, सातत्याचे जाहिरात हे आवश्यक घटक आहेत. याहीपेक्षा दर्शकांना गुंतवून ठेवण्यासाठी विविध कार्यशाळा, फिल्म प्रदर्शन, चर्चासत्र, कलाकारांसोबत वॉक थ्रू अशा कार्यक्रमांचे नियोजन करणे, ही प्रदर्शनाव्यतिरिक्त करण्याची कामे आहेत. सहभागासाठी विद्यार्थी, कला-विद्यार्थी, उत्सुक आणि हौशी कलाकार, सामान्य वर्ग, विशेष गरज असणारे नागरिक अशा सर्वाचा विचार केल्याने खऱ्या अर्थाने प्रदर्शनाचे सार्थक होते.

वर दिलेली सर्व माहिती एका आदर्श कला नियोजनाचे अगर प्रदर्शनाचे अविभाज्य घटक आहेत. पण वास्तवात असे चित्र तयार होण्यासाठी अत्यंत धाडसी वृत्ती पाहिजे. त्या सोबत सक्षम कार्यप्रणाली आणि सूज्ञ, तत्पर आणि चिकित्सक असे सहकारीदेखील पाहिजेत. अर्थात हे सर्व कोणत्याही नियोजनात लागू पडणारे घटक आहेत. कलेत मात्र या सर्व गुणांसमवेत कला संबोधनासाठी नेमके विषय आणि आशय हेरण्याची क्षमता सर्वाधिक महत्त्वाची. सामाजिकदृष्टय़ा नाजूक विषय हाताळताना विषयाची प्रदर्शनातून मांडणी अशा रीतीने करावे लागते, ज्यामुळे दर्शक-समाजाला विचार करण्यास प्रेरित करेल.

NGMA, मुंबई येथील दालनाचे दृश्य

आधुनिक दृश्य कला ही भारतीय सांस्कृतिक जीवनात सलग न आल्याने समकालीन दृक भाषा समजणे अवघड आणि आपल्या आजच्या जीवनाशी विसंगतदेखील आहे. ही विसंगती युरोपातून भारतात आलेल्या नूतन कला प्रवाहांच्या परिणामाने निर्माण झालेले आहे. त्याशिवाय जलद गतीने बदलणाऱ्या समाजव्यवस्था आणि तंत्रज्ञान यामुळे संभ्रमाचे वातावरण कला नियोजकांपुढे असलेले प्रमुख आव्हान आहे. कलाकृतींतील सौंदर्यानुभव, आणि महत्त्व कमी न करता त्यातला आशय बहुसंख्याकांपर्यंत पोहोचवणे अत्यंत कसोटीचे आहे. सांकल्पनिक आव्हानांशिवाय राजकीय आणि आíथक आव्हानेही या संपूर्ण प्रक्रियेला विराम लावणारे ठरू शकतात. आंतरराष्ट्रीय पातळीवर प्रदर्शन आयोजित करताना सामील असलेल्या देशांच्या आपसातील सांस्कृतिक धोरणे, प्रदर्शन साध्य होण्यासाठी मध्यस्थी करणाऱ्या शासकीय आणि बिगरशासकीय संस्था यांच्यामधील संवाद, अर्थसाहाय्य पुरवणारे प्रायोजक व मिळणाऱ्या धनराशीचे नियोजन, जमा-खर्च या तेवढय़ाच आव्हानात्मक बाबी आहेत. आयोजकांची विश्वसनीयता सिद्ध झाल्याखेरीज प्रायोजकांचे आणि शासकीय पाठबळ मिळणे कठीण आहे.

आतापर्यंत मांडलेल्या विषयात मोठय़ा पातळीवर होणाऱ्या प्रदर्शनाच्या उलाढालींचा विचार आपण केला. यातल्या बहुतेक बाबी सर्व दृश्यकला आणि रंगमंचीय कलांच्या नियोजन आराखडय़ात थोडय़ाफार फरकाने सारख्याच असतात. नियोजन म्हटल्यावर ऑन फील्ड आणि डेस्कटॉप वर्क दोन्ही कमी-जास्त प्रमाणात असतात. अनेक प्रकारच्या लोकांशी संवाद साधणे, भेटीगाठी घेणे, ऑफिसमधून ई-मेल संपर्क, कार्य निर्वाहासाठी आखलेली कामे आणि दिलेल्या मुदती, अनुदान प्रस्ताव लिहिणे, ग्रांट लेखन, घडामोडींचे दस्तावेजीकरण (डॉक्युमेंटेशन), फोटोग्राफी, रिपोर्ट तयार करणे, जमा-खर्च राखणे, वेळच्या वेळी प्रसारमाध्यमातून उपक्रमांची बातमी देणे, त्यासाठी आकर्षक पोस्टर बनविणे या व इतर अनेक कामे सामील असतात. अर्थात सगळं काही एकच व्यक्ती करणे अपेक्षित नसून अनुभव, ज्ञान, आवड आणि चिकाटी या आधारांवर नियोजकांवर जबाबदारी सोपवली जाते. काही छोटय़ा संस्थांमध्ये ही अनेक कामे दोन किंवा तीन व्यक्ती सांभाळत असतात.

कला नियोजन क्षेत्रातील शिक्षण जगभरातील विद्यापीठांमध्ये, खासगी संस्थांमधून पदवी आणि पदव्युत्तर अभ्यासक्रमांतून उपलब्ध आहेत. आर्ट्स मॅनेजमेंट, क्युरॅटोरिअल स्टडीज, हेरिटेज मॅनॅजमेन्ट, लिबरल आर्ट्स स्टडीज, मानव्य शास्त्र, वस्तुसंग्रहालयाचे शास्त्र – म्युझिऑलॉजी, बीबीए, एमबीए अशा निरनिराळ्या अभ्यासक्रमांतून कला नियोजनाचे प्रशिक्षण सुरू आहे. काही आंतरराष्ट्रीय लिलावगृहांनी घरांनी कलावस्तूंच्या व्यवहाराच्या प्रशिक्षण अभ्यासक्रमालाही काही वर्षांपूर्वीच सुरुवात केली आहे. भारतात मुंबई आणि बडोदा विद्यापीठाचे म्युझिऑलॉजी अ‍ॅण्ड कन्झव्‍‌र्हेशन, सिंबॉयसिसमधील लिबरल आर्ट्स, मास कम्युनिकेशन, टिळक महाराष्ट्र विद्यापीठातील इंडॉलॉजी, हेरिटेज टूरिजम, लखनौ येथील राष्ट्रीय सांस्कृतिक संपदा संरक्षण अनुसंधानशाला येथील कार्यशाळा, बेंगळुरू येथील सृष्टी या कला आणि डिझाइन संस्थेतील विविध अभ्यासक्रम, असे अनेक प्रकारचे अभ्यासक्रम उपलब्ध आहेत. त्याशिवाय मुंबईतील मोहिले पारीख केंद्र, दिल्ली येथील फाऊंडेशन फॉर इंडियन कंटेम्पररी आर्ट्स, इंडिया फाऊंडेशन फॉर आर्ट्स, स्पिक मॅके, काही कला दालने अशा विविध खासगी संस्थांमधून कार्यशाळा, संशोधन अनुदान या माध्यमातून कला नियोजन शिकणाऱ्या आणि कार्य करणाऱ्या जिज्ञासूंना ज्ञान आणि स्थानही मिळत आहे.

Article Published in Loksatta

Prabhakar Barve | A Voyage of Visual Epistemology

A voyage of visual epistemology begins with an urge for dynamics arising from the inquiry of the visible and the absolute void. Prabhakar Barve with the patrilineal inheritance of visual art was born in Nagoan, Maharashtra on March 16, 1936. Receiving encouragement from his sculptor father and support from his granduncle Vinayak Pandurang Karmarkar young Prabhakar went through the schooling at the Sir J. J. School of Art, Mumbai between the years 1954 to 1959. Besides the primary education till grade four, his life has been a part and participle of Mumbai. An interesting transition in Indian art can be noticed between the generations where Karmarkar a sculptor bred under the Edwardian academic tradition expresses his apathy and objection against the newly borrowed modern art movement and suggest this curious lad to focus onto the study of realism. With an urge to explore multitudes of the aesthetics of image-making and under the influence of then contemporary artists like Gaitonde, Mohan Samant and Ambadas, Barve furthered his study for the crux of visual language, disregarding the clerical act of imitative imagery. His inquiry was coupled with the exposure to theories of Paul Klee, Ben Nicholson which is evident in his own writings.

Occupation and mode of sustenance has been a distinct feature of his life and art practice. By joining the Weavers Design Service Center in early 60s for sustenance the artist maintained a particular schedule of working. There he was involved with leading artists Gautam Waghela, K.G. Subramanyan and Ambadas. Throughout his service he constantly dealt with creation of new designs for the weavers which enhanced his understanding of forms evident in his diaries. Apparently the daily practice of diary writing occupied him as his concluding task before leaving the office for his studio at Gamdevi-a cosy studio space of 5’*8’. During 1962-1965, Barve was posted at Varanasi where his encounter with the Tantric forms capture his interest following into a Tantricist phase of his works, which concludes with a realization of being an artist and not a Tantric to endeavour it.

Writing being significantly his second nature, he practiced it meticulously and lovingly which is needlessly explained by its prevalence in the numerous letters, written to his daughter Sonali and to others from the arts community. Full of circumlocutions his verbal analysis of visual intricacies has formed a basis for critical thinking for aesthetic decisions. This phenomenon is evidently influential in the works of many young artists who conversed with him or his book Kora Canvas in Marathi. It is noted that rather than his personal life, an expression of curiosity, discussion and theorization of his thoughts regarding art, forms his entire habit of verbalizing on paper. Thus, occupation for him was either his art practice or writing.

Barve’s familial life presents, his inhibitions for machines and mechanisation, yet he appreciated the possibilities of image approximations through technological advancements via computers. The computer art show curated in 1991 where several leading artists attempted to produce their creations through the digital medium. With a mixed view of the experience collectively, Barve in particular was curious about the innovation and the modern mode of image manifestations. However as a resultant, although he designed a safety-pin on the machine, eventually chose to manually transfer the form which was then titled as eighty five safety pins.

With affinity for contemporary practices as opposed to academic realism in his formative years, the artist worked with zeal of a scientist. His inquiry for an apt medium for image making was coupled by constant and pertinent interrogation linked to his derivative thought process. Enamel paints were used while his stay in Varanasi to overcome the obligation and non availability of oil colours despite knowing the shortcomings of the medium. With a gradual progression in the technique, the artist explains his need for certain sheen where he successfully blends the commercial paint to achieve the result of oils and beyond through a layered method. Letter to Camlin Art Foundation is one interesting instance that displays his keen concerns for the specific quality of canvas, free of knots and properly primed. Expressing his botheration regarding a canvas, Barve acknowledges the contribution of Camlin while urging them to be compatible with international standards.

Numerous accolades signify his distinct position in the field of visual arts. Amongst them the award by Academy of Fine Arts in Kolkata in 1963, the Bombay Art Society in 1964 and 1968, the Maharashtra State award in 1971 and the prestigious Lalit Kala Akademi awarded in 1976.  

To summarize the participation of his works in various exhibitions his international participations include IX Biennale, Valpariso in Chile in 1989; II, III, IV and V Triennales at New Delhi in 1971, 1975, 1978 and 1982 and the Fifth International Young Artists at Tokyo in1969. About 12 solo shows are attributed to his career from 1961. During the years 1961 to 1965 and in 1969 he was conferred upon with the Yomiuri Shimbun Award in Tokyo, Japan at the Fifth International Young Artists' exhibition. In 1983 the Modern Indian painting exhibition at Hirshorn Museum, Washington, D.C. and the IX Biennale International, Chile in 1989, signify his contribution to Art. In late 1988 he was selected under the International Visitor's program, Grant, Sponsored by the USIA. This was followed by a residency programme at Yaddo, the artists' village established in America. The artists’ visit to America brings with him several curiosities and evolutions in his works.

His creation ‘Blue Cloud’ brought him National prize at exhibition of Lalit Kala Academy in Delhi.

A person who loved solitary existence, engaged with painting sometimes on a single canvas for hours, days and even months. He enthusiastically engaged in long discussions with artist friends like Prabhakar Kolte, Dilip Ranade, and Madhao Imartey. Here also, he discussed nothing but art!

Being witness to the illness of his parents Barve developed a severe inhibition to medications or hospitalisation which cost him through prolonged sufferings pushing him towards the inevitable. With a pail physique he continued to make few drawings and with feeble voice muttered art to friends visiting him at the hospital. December 6, 1995 marked his demise pronouncing a vacuum in the art-world and imposed conclusion to his visual epistemology.

The essay has been published in the book 'The Blank Canvas' a translation of the book in Marathi "Kora Canvas by Prabhakar Barve which is based on the entries of his dialy diaries " http://bodhana.org/archives/prabhakar-barwe.aspx

Leh: An experience of Lost Indigenous Culture

Leh a land of high passes happened to be another destination of my eternal journey. For me as a painter and a keen observer of culture, Leh was a curious specimen to be dissected. We hopped from one place to another scintillated by enormous hills, the chilly climate with little oxygen in it. We were overwhelmed! A week long vacation concluded with a bag full of laundry and splendid memories for a lifetime. Despite an ecstatic experience something sulked within.  The brooding was about the invisible indigenous life. One could barely witness the local culture. Was it that I failed to notice it or it was totally missing?

We saw men and women, infants and children but fewer old lads. The population comprised of the some Ladakhi's who hail the valleys since the earliest known habitation of the site. A large flock of tourists, Indians as well as foreign nationals form a part of the floating population. People from the neighboring villages participate in the local trade and tourism, which could barely be segregated. A distinct population of men coming here to reap the fruits of the bustling tourism was annoyingly noticed. This transient population comes mainly from the northern states and Maharashtra. The annoyance was not due to their interests in the lucrative trade but the impact they shed on the regional culture and traditions. Though the impact is an obvious one, my concern is whether the culture evolves to reformulate itself or it succumbs to the invasions of high urbanism. I grappled with the question of whether local community is left with any indigenous cultural markers, be it clothing, food habits, language and the local crafts and artistry. 

The cues were found in fragments. Apparently the Ladakhi populace finds employment in the military services and allied trades supporting the armed forces with domestic supplies. Rest of the youth engages in tourism. Some drive tourist vehicles and some service the hotelward. Agriculture is limited to summer season with few mountainous vegetables and fruits and wheat which is mostly cultivated on the slopes by step farming. Winter and summer are the only seasons witnessed. This phenomenon influences their framing and trade patterns. As a result most goods flow in from Srinagar and other regions which are facilitated by the military during the winter when most land is snow clad.

Given the hostile climate, some cultures continue to exhibit its inherent traits. Here in Leh, even local food was limited only to strange tasting momos and thukpa which was nothing but vegetable clear soup with a lot of vegetables still in it. We had learnt of the buttered tea popular in the monasteries. But we seldom came across a shop serving it. Not even near the monasteries. We barely came across something that can be termed Ladakhi cuisine. All they served in the restaurants was either Punjabi, Italian or Chinese dishes. To further amusement the local crafts were found to be imported than being locally crafted (sold at almost half the price in New Delhi's Dilli-Haat). Except for few leather objects, the so called yak wool shawls and the modern day craft of hand embroidered T-Shirts with fancy Typos and Images, regional artistry was hardly noticed. It doesn’t stop here. A lot of construction work is vigorously encouraged by the government and the locals, but the carpenters, masons, smiths all hail from Bihar, Bengal, Haryana and Maharashtra. The locals are hired only to make mud bricks. There is no middle class. Only rich and poor exist. 

The monasteries too, wore an attire of being tourist spots than the original sanctity. An intense artificial appearance adorned the few monasteries we happened to visit viz. Thiksey, Hemis and Shey. Contributing to this is the newly built Shanti Stupa, which is nothing but mockery of the ancient stupa architecture. The superimposed motifs depicting Lord Buddha's life the Jataka tales are hideously rendered and painted shabbily. However saying so doesn’t take away the grandeur and organic nature of the medieval architecture.  I might be little cynical about the issues discussed. However true might be my observations or not, these diverse situations appear to formulate culture afresh in the land of high passes; induced with little indigenous features and more of the adopted modern Indo-European material culture. Adventure is now to ride fancy bikes, ride bicycles in the rugged terrain, trekking, rafting in the gushing lathery, ice cold waters, that too at high altitudes, but for whom? Whose Culture? or a Mock Culture?

The article is a response after my recent visit to Leh in late September 2014.