•       2013 Events
  • signs
  • STUDIO21
    present
    Silent Forms : Revisiting Silent Cinema of India
    A Media-Installation by Madhuja Mukherjee
    8- 15 November, 2013. 3 – 7 pm
    Opening 8 November, 6 p.m
    Mr. Mrinal Sen, eminent film director will inaugurate the exhibition.
    9 November, 5.30 pm
    Artists in coversation with art writer and curator Avijna Bhattacharya

    Looking forward to your active participation.
    Manas Acharya(Curator-Coordinator)

    Studio 21
    17L, Dover Terrace, Kolkata 700 019, Tel:2486 6735
    e-mail : studio21.gallery@gmail.com
    website: www.studio21kolkata.com

    MADHUJA MUKHERJEE is an inter-media artist who researches and writes on Indian cinema, as well as makes experimental films, creates graphic narratives and executes media installations. Currently, she teaches in the Department of Film Studies, Jadavpur University, Kolkata, and is the Joint Coordinator of the Media Lab Project, Dept. of Film Studies. Mukherjee is the founder member of TENT (theatre for experiments in new technologies), Kolkata. She has authored books on Indian film histories and her first feature film Carnival (2011) along with her media installation Crumbled Papers, Fragments of Cinema, were shown at the 41st International Film Festival Rotterdam, 2012.

    Silent Forms : Revisiting Silent cinema of India
    This media–installation (‘Silent Forms’) explores the early and the silent phase of Indian cinema, in order to bring back certain lost forms within contemporary public cultures. While it is generally perceived that, Indian cinema in its initial stages principally produced mythologies, this installation intends to illustrate other widespread forms including comedies, stunt movies, as well as documentaries along with images of fashionable female stars, which circulated extensively during the period (1913-31).

    Divided primarily into five zones
    namely mythological, documentary, stunt movies, comedies, and pictures of trendy female stars- this installation will be an extension and an abstraction of early twentieth century cinematic tendencies, as well, it shall present a historical over-view of the times and reflect upon the social circumstances within which cinema emerged as a popular culture. It will explore the memories of film viewing practices, the contexts of watching films, and the ways in films have circulated and survived through disparate media (including journals, photographs, calendar art, posters, memorabilia etc.).
    The installation will use framed photographs/images, video projections, TV screens, mirrors and objects, along with the studio space to underscore the significance of the inaugural moment of popular cinema. The purpose is to produce an environment, which recreates the fragmented nature of an elapsed era, and focus on the forlorn historical strands. The five categories will be accompanied with write-ups on the specific genres, the growth of cinema as an industrial art, and the city-cinema relationship.

  • signs
  • An artist talk and presentation
    Signs....emanate infinite possibilities
    by Anirban Mitra on Saturday , August 31, 2013
    ANIRBAN MITRA (b.1981) is a young artist from Kalabhavan, Santiniketan, he received his MFA degree in painting, in 2008. Since then he has been actively working and showing his work in major galleries and art venues all over India and at various, important international exhibitions such as, ANIMAMIX BIENNIAL – VISUAL ATTRACT & ATTACK 2009-2010 MUSEUM OF CONTEMPORARY ART, MOCA TAIPEI; TAIWAN; GIANT ELEPHANT- INDIAN CONTEMPORARY ART EXHIBITION. GONG ART SPACE, SEOUL, KOREA 2011.ART HONG KONG 2010; HONG KONG CONVENTION CENTRE.HONG KONG; ART FAIR GROUP EXHIBITION, GLENFIDDICH DISTILLERY, DUFFTOWN, BANFFSHIRE, SCOTLAND, 2009.
    He has participated in various art fairs including INDIA ART FAIR , NEW DELHI 2013, HONG KONG CONVENTION CENTRE.HONG KONG ART FAIR.INDIA ART SUMMIT 2011, NEW DELHI; SAKSHI GALLERY BOOTH, MUMBAI; ART HONG KONG, HONG KONG ART FAIR 2013.
    Anirban got various awards and scholarships including ARTIST AWARD 2006. GIVEN BY KOLKATA ART FOUNDATION, NATIONAL SCHOLARSHIP 2007-2009 TO YOUNG ARTISTS GIVEN BY GOVT. OF INDIA, MINISTRY OF CULTURE.
    Aniirban was an artist in residence at GLENFIDDICH DISTILLERY, DUFFTOWN, BANFFSHIRE,SCOTLAND, 2009.

  • raagmala
  • Raagmala
    a musical performance
    by Ankan Bandyopadhyay on Saturday , July 13, 2013
    ANKAN BANDYOPADHYAY IS A YOUNG VISUAL ARTIST AS WELL AS A VOCALIST IN INDIAN CLASSICAL MUSIC OF KOTALI GHARANA. HE COMPLETED HIS M.F.A (PAINTING) FROM RABINDRA BHARATI UNIVERSITY IN THE YEAR 2010. A DEVOUT STUDENT OF LATE PANDIT MANAS CHAKRABORTY FOR YEARS, ANKAN HAS ALREADY RENDERED MUSICAL PERFORMANCES AT MANY PLACES. ANKAN'S PAINTING HAVE ALSO EARNED WIDESPREAD APPRECIATION FROM THE VARIOUS GALLERIES IN THE METROPOLIS WHERE THEY HAVE BEEN EXHIBITED.

  • gr
  • A screening of the documentary film
    Graveyard of Memories
    A film on National Instruments Ltd. By Ankur Das Followed by a conversation with Moinak Biswas, Head of the Department of Film Studies at Jadavpur University
    Friday , June 21, 2013
    Graveyard of MemoriesShot on: DV Running time: 33 m 26 s 2011,
    As much it is resolved from the outside, it is unsettling from within. Buried beneath its legacy, the place welcomes its specters of abandonment. Time has left its carnage splattered all around the cracked floors and the paint-peeled walls. Dysfunctional machines, discarded lights, damaged furniture rotting with the smell of human failure has something to do with death… death, that comes as an end. NIL used to be India’s premier optical equipment and mathematical instruments manufacturing company. Once a pioneer of Binoculars, Compasses, Heliographs, Signaling Telescope, Graticule, Bubbles and other optical instruments, NIL faced its complete demise in 2005 and taking with itself an era of unparalleled excellence. It was also the proud father of the country’s first SLR camera. The film explores the space where history was lost into oblivion and reality turned into an archive of lost memory; the space which has turned into ruins and where time stopped long back. The film dwells on the chaos within the emptiness and sets a journey through the enigma of the absent. The narrative, all throughout, keeps itself engrossed in a quest to reach out to a chaos, probably associated with life and dynamicity, amidst all the apparent emptiness of the profilmic space and in the process attempts resurrection of the cluster of memories through image and sound in this dark monument standing as a testimony to a past outlined with splendor.

    Ankur Das
    Ankur Das was born in 1985 in Kolkata, completed his graduation in media studies in 2007 and began assisting independent filmmakers in their non-fiction works. He is currently associated with Bent Cigarette Productions in Kolkata, for the past three years taking an active part in all their ongoing audio-video projects. Graveyard of Memories is his first short documentary film.

    Moinak Biswas
    Moinak Biswas is Head of the Department of Film Studies at Jadavpur University, where he also runs the Media Lab. He writes on Indian film and contemporary culture. He is the editor of the Journal of the Moving Image and co-editor of BioScope, South Asian Screen Studies. Biswas has recently written and co-directed the award winning feature film Sthaniya Sambaad (2010).

  • palash
  • An evening of performance art by Palash Bhattacharjee Followed by a presentation and artist talk on new art practices of Bangladesh Saturday , May 18, 2013
    Palash Bhattacharjee (born 1983) is an art practitioner of Chittagong, Bangladesh .Palash completed his M A and B A from Department of Fine Arts, University of Chittagong in 2006 and 2005. He is working on different kind of experimental art forms, Performance art, Installation and Video. His creativity has been expressed through several exhibitions, residency programs and performances at home and abroad.
    He has participated at Gallery Bishaud Bangla, Chittagong, Bangladesh,2012, 15th Asian Art Biennial 2012, National Art Gallery of Bangladesh Shipakala Academy, Dhaka, Bangladesh; Dukwon Gallery, Seoul, South Korea 2011, Busan World Open Art Festival-2011, South Korea, Closing and Closer at Goyang Art studio 2011, South Korea, 4th Performance art festival PAN Asia-2011 at Seoul Art Space
    Mullae and Gowngju Museum of Art, Festival & Open Studio SAP 2010 at Anyang,South Korea, April Meeting Festival (Aprilski Susreti) Belgrade, Serbia 2010, 17th Young Artists Exhibition - Bangladesh Shilpakala Academy, Dhaka, Bangladesh 2010, Outcome Exhibition Of 2nd Site Specific Art Camp- Alliance Francaise de Chittagong 2010, Policritix - Print’ Part-2 Exhibition in Gallery of Alliance Francaise de Chittagong 2009.

  • manasha
  • Screening of the documentary film“ THE LEGEND OF MANASA” by Ashoke Viswanathann Followed by a conversation with Prof Sanjoy Mukhopdhyay,Professor, Department of Film Studies,Jadavpur University
    Saturday , May 11, 2013
    This docudrama seeks to explore the cult of snake worship as also the evolution of the story of the Manasa Mangal epic using graphics, songs and drama.. The conflict between Chand Saudagar and Ma Manasa is counterpointed by the indomitable tenacity of Behula.

  • max
  • A workshop on
    The Anatomy and Politics of Video Art by
    Marcel Odenbach
    3 – 4 April, 2013
    STUDIO21 in association with Goethe-Institut Max Mueller Bhavana.
    In this workshop Marcel Odenbach looked at the historical and political context of Video Art in relation to his own experimentations with video since 1970s. In course of the workshop Odenbach delved into varied dynamics integral to the creation of video art. Citing examples from his own video works he talked about and analyse his own methods of creation. He also shared his thoughts on the aesthetics and politics of images and sound in video art.

  • bridge
  • An evening of Japanese dance
    B R I D G E T S C O T T
    traditional Nihon Buyo and improvised Butoh
    ALEXANDRE JURAIN
    on esraj
    February 16, 2013 (Saturday) from 5:30 pm
    Bridget Scott was born in London, the sixth child and a twin in a family of eight, Bridget moved to Kyoto, Japan in 1989, intending to have a six month break from her legal training and study pottery. She had never taken a dance class or performed on a stage or had any interest in watching dance, but six months after arriving in Kyoto she saw her first butoh performance and was inspired. She debuted in 1990 as a member of the group Katsura Kan and Saltimbanques and performed with them for over 5 years in Japan, Korea and Java. Bridget later studied with butoh founders Kazuo and Yoshito Ohno as well as Min Tanaka. From 1995 she began developing her own choreographed dance pieces and collaborating with artists and musicians.
    During her early butoh training, Bridget also began to study shiatsu (acupressure) with Ryokyu Endo, a shiatsu master based in Kyoto. She apprenticed with him for 9 years, graduating in 2001. Now she gives treatments and teaches shiatsu in her own clinic. Bridget's dance took a new direction in 2006 when she entered the traditional Japanese dance world and began training with Nishikawa Senrei.
    Bridget currently resides in Kyoto. She teaches butoh to individuals and groups. She continues to explore the connection between butoh and traditional dance in her performances.
    Email : bridgetscottnow@me.com
    Website : www.bridgetscottshiatsu.com

  • inner eye
  • An illustrated presentation - The Artist before a Mirror: Satyajit Ray’s The Inner Eye and Ritwik Ghatak’s Ramkinkar by Prof Sanjoy Mukhopadhyay on Saturday , February 9, 2013.
    Sanjoy Mukhopadhyay , Professor, Dept. of Film Studies, Jadavpur University, Kolkata. Author, translator and cultural analyst.
    The Artist before a Mirror: Satyajit Ray’s The Inner Eye and Ritwik Ghatak’s Ramkinkar.
    Apparently, The Inner Eye (1972) and Ramkinkar (1975) are two documentaries made by two maestros of Indian cinema – Satyajit Ray and Ritwik Ghatak. In a way, they do enlighten us on the life and works of their two great predecessors in visual arts – Benodebihari Mukhopadhyay and Ramkinkar Baij respectively. But there are more to it. While in The Inner Eye, we find, Satyajit navigating through the contours of Benodebihari’s murals and paintings to discover the mysteries lying beneath the creative endeavors of an artist who, despite his impaired vision remained truthful, serene and balanced in his creative work; on the other hand, Ritwik emphasized more on the eccentricities and wild sculptural imaginations of Ramkinkar. The compositions and constructions of the films suggest a hidden desire – on the part of the filmmakers – of designing their self-portraits via the portrait of the observed.
    Satyajit insisted on the locations of the ‘new real’ in Benodebihari, in opposition to the values of contemporary Bengal School of Art; how his teacher in Santiniketan unhesitatingly borrowed materials from immediate mundaneness and yet remained open to cosmopolitan influences, which in turn became a kind of self-defense for his realistic approach to cinema. Ritwik Ghatak, on the contrary, noted a kind of dynamic turbulence in Ramkinkar which makes motion perceptible even in the stasis of frozen material. In short, both films are more self-reflexive than objective biopics. They comment on the maker themselves and thus open up a unknown space where cinema and plastic arts can initiate meaningful conversations.The lecture will be illustrated with clippings from the films and stills of paintings and sculptures.