100 OBJECTS
FROM THE COLLECTION OF THE MILAN TRIENNALE:
at the BANGALORE EXHIBITION CENTRE, Tumkur Rd.
DEPARTURE FROM COLLEGE AT 10.A.M
TIME ALLOCATED FOR VIEWING: 2 HOURS
G.
Have you checked your final grades, below?
Friday 7 December 2007
Thursday 6 December 2007
MUSEOGRAPHIES: BANGALORE...
Soon after launching the Museographies project, at Srishti, I took a trip to City Market, on the first Sunday, and bought four used bicycle seats made of colorful plastic; which I selected from a group:
I bought them with a specific use in mind; a use which would transform the seats into something else — the 'X' factor — whilst retaining their value as ethnographic objects and cultural artefacts.
Here is the result, which I tested with the curator of the Pitt Rivers Museum,Oxford; some collectors and two other curators in the UK; with a few colleagues here, as well as with some people I met in Bangalore (an artist at CKP; a businessman at GPO...); and now with you...
A new addition to my 'MUSEOGRAPHIES' series, which I plan to 'smuggle' in the Pitt Rivers in Oxford (alongside 'Four Masks'), as an example of an on-going POETIC VISUAL ANTHROPOLOGY.
Wishing you a HAPPY CONTINUATION with your Art and Design Explorations...
I bought them with a specific use in mind; a use which would transform the seats into something else — the 'X' factor — whilst retaining their value as ethnographic objects and cultural artefacts.Here is the result, which I tested with the curator of the Pitt Rivers Museum,Oxford; some collectors and two other curators in the UK; with a few colleagues here, as well as with some people I met in Bangalore (an artist at CKP; a businessman at GPO...); and now with you...
A new addition to my 'MUSEOGRAPHIES' series, which I plan to 'smuggle' in the Pitt Rivers in Oxford (alongside 'Four Masks'), as an example of an on-going POETIC VISUAL ANTHROPOLOGY.
Wishing you a HAPPY CONTINUATION with your Art and Design Explorations...
DAY 21: FED BACK + SELF-ASSESSMENT
For this final session, you will review and discuss your respective achievements; on the basis of the printed proofs exhibited in the studio, and what you have seen yesterday on screen.
You will also self-evaluate your performance on the project, with reference to the criteria highlighted on the assessment form: a way of experiencing ACTION RESEARCH as an essential part of Design Practice.
This will, no doubt, offer a sound basis for fine-tuning your blog and your designs.
Final marks:
Neeti Gokhalay: A-
Rutika Seth: B+
Vinay Ghodgeri: B+
Radha Mohini Prasad: B+
Aajwanthi Baradwaj: B+
Mrunmayee Gokhale: B
Nimisha Singhal: B
Priyanka Chaurasia: B
Divya Gaitonde: B
Saakshita Prabhakar:B
Uditi Shah: B
Akshita Jain: B-
Nilisha Khana: B-
Sargam Gupta: C
You will also self-evaluate your performance on the project, with reference to the criteria highlighted on the assessment form: a way of experiencing ACTION RESEARCH as an essential part of Design Practice.
This will, no doubt, offer a sound basis for fine-tuning your blog and your designs.
Final marks:
Neeti Gokhalay: A-
Rutika Seth: B+
Vinay Ghodgeri: B+
Radha Mohini Prasad: B+
Aajwanthi Baradwaj: B+
Mrunmayee Gokhale: B
Nimisha Singhal: B
Priyanka Chaurasia: B
Divya Gaitonde: B
Saakshita Prabhakar:B
Uditi Shah: B
Akshita Jain: B-
Nilisha Khana: B-
Sargam Gupta: C
Wednesday 5 December 2007
DAYS 18 & 19: GRAPHIC IMPLEMENTATION
Monday to Wednesday will be spent implementing your graphic ideas in the computer lab, with tutorial support, on request.
Please check the Notice Board, for details of assessment, and ask for a self-assessment form, to be filled and handed-in on Thursday after the Final Critique.
Please check the Notice Board, for details of assessment, and ask for a self-assessment form, to be filled and handed-in on Thursday after the Final Critique.
DAY 17: MONDAY
First, we examine with concrete examples drawn from my own design intervention how your CONCEPT may be FORMULATED in your final presentation to the client (as a BLOG publication: short and to the point).
EXAMPLE:
1. DISPLAY:
Design Concept:
Unlike in Museums, where artefacts are presented and interpreted within specific but 'closed' closed categories: geographic location, art historical period, style, etc., this exhibition concept aims to present OBJECTS IN DIALOGUE, across cultural differences, in order to promote understanding across and between cultures.
Thus, in the proposed display of MASKS — TRIBAL, HINDU and CHRISTIAN — masks are juxtapposed in sequences which invite visitors not just to admire the OBJECTS as Art Objects/Artefacts (for their formal properties alone), but in such a way as to invite visitors to consider their significance as CULTURAL ARTEFACTS or as ANTHROPOLOGICAL OBJECTS, and to explore the relationship between the different CULTURES and VALUES which produced them.
Remarks:
This approach is informed by the visual strategy I developed in my 'Museographies' series, which converges with some changing trends within contemporary Anthropology; in particular the papers presented at the CULTURE & CULTURES conference, organized by the Musée d'Ethnographie de Genève (Geneva, MEG, 2007)
www.ville-ge.ch/meg
2. POSTER
Design Concept:
With a great economy of means, the poster illustrates how the display stages OBJECTS IN DIALOGUE with each other; replacing static showcasing with dynamic performances.
An alternative concept or title for the Display (on the poster) could be 'OBJECTS IN PERFORMANCE'.
EXAMPLE:
1. DISPLAY:
Design Concept:
Unlike in Museums, where artefacts are presented and interpreted within specific but 'closed' closed categories: geographic location, art historical period, style, etc., this exhibition concept aims to present OBJECTS IN DIALOGUE, across cultural differences, in order to promote understanding across and between cultures.
Thus, in the proposed display of MASKS — TRIBAL, HINDU and CHRISTIAN — masks are juxtapposed in sequences which invite visitors not just to admire the OBJECTS as Art Objects/Artefacts (for their formal properties alone), but in such a way as to invite visitors to consider their significance as CULTURAL ARTEFACTS or as ANTHROPOLOGICAL OBJECTS, and to explore the relationship between the different CULTURES and VALUES which produced them.
Remarks:
This approach is informed by the visual strategy I developed in my 'Museographies' series, which converges with some changing trends within contemporary Anthropology; in particular the papers presented at the CULTURE & CULTURES conference, organized by the Musée d'Ethnographie de Genève (Geneva, MEG, 2007)
www.ville-ge.ch/meg
2. POSTER
Design Concept:
With a great economy of means, the poster illustrates how the display stages OBJECTS IN DIALOGUE with each other; replacing static showcasing with dynamic performances.
An alternative concept or title for the Display (on the poster) could be 'OBJECTS IN PERFORMANCE'.
Sunday 2 December 2007
DAY 16: SATURDAY A.M.
Individual tutorials preceded by a thorough discussion of what remains to be done; with reference to specific issues.
AGENDA for the last phase of the project outlined:
MONDAY 3: FINALIZE DESIGNS FOR DISPLAY, POSTER AND CATALOG. Individual tutorials in studio.
TUESDAY 4: PRINT AND SET UP EXHIBITION AND PUBLISH INDIVIDUAL BLOGS, FOCUSING ON THE DESIGN PROPOSALS FOR DISPLAY, POSTER & CATALOG.
WEDNESDAY 5: COLLECTIVE ASSESSMENT.
THURSDAY 6: PRESENTATION TO OTHER GROUPS.
Project ends/Celebration.
Radha Sullur, tribal artist, exponent of Chittaara painting.
Anil Chaitya Vangad, Adiwasi Warli artist.
AGENDA for the last phase of the project outlined:
MONDAY 3: FINALIZE DESIGNS FOR DISPLAY, POSTER AND CATALOG. Individual tutorials in studio.
TUESDAY 4: PRINT AND SET UP EXHIBITION AND PUBLISH INDIVIDUAL BLOGS, FOCUSING ON THE DESIGN PROPOSALS FOR DISPLAY, POSTER & CATALOG.
WEDNESDAY 5: COLLECTIVE ASSESSMENT.
THURSDAY 6: PRESENTATION TO OTHER GROUPS.
Project ends/Celebration.
Radha Sullur, tribal artist, exponent of Chittaara painting.
Anil Chaitya Vangad, Adiwasi Warli artist.
DAY 15: Friday
VISIT TO MELA at CKP, where we get the chance to view crafts and musical performances.
In the course of conversation we remarks that most of the crafts product on display are 'very commercial'. Some of you, quoting a product designer who visited Srishti a while back, believe that this is inevitable.
I suggest that one can retain one's integrity and find an economic support base by targeting the right audience: audience who have made the effort to learn to appreciate the crafts and have enough respect to pay higher prices for authentic pieces.
As part of the 'New Art from South Asia' exhibition I am curating in the UK, I commission a new piece of work from Durga Bai,an artist from the Gond tribe (Bhopal), about the Bhopal chemical factory disaster which had immense repercussions on the people of Bhopal [See film: 'The Bhopal Express']; the victims are still fighting for compensation.
This commission will give the artist the opportunity to deal extensively with an important contemporary issue which is dear to her, but which she has not tackled so far on a large scale (3'by 5').
Day 13-14: CRITS.
A combination of individual crits in the studio and theoretical discussions offering feed-back on the work in progress; advice on issues to be tackled and on problems to be resolved.
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