HYDERABAD: The year kickstarted with Arjun Das’s solo exhibition titled ‘Land of the Leal’ at Dhi Artspace, highlighting his raw and honest storytelling that depicted the lifestyle of a subset of the migrant population in his hometown in Giridih district of Jharkhand and the present-day Bara Bazar in Kolkata. Das said he was inspired by observing the livelihoods of the common people in these places. Besides wood sculptures, he experimented with chisels metal, stone, coal, terracotta roof tiles, and asphalt in his abstract art, to be able to illustrate and represent the city worker’s everyday reality.
In February, many artists from Hyderabad represented the city at the India Art Fair (IAF) 2023 and showcased their artworks to the world. Right from cartography and archival history to existentialism, artists made every brush stroke count to establish their defining voices. Fair director Jaya Asokan mentioned some of them: “From powerful voices like Dia Mehta Bhupal, Faiza Hasan, Debosmita Samanta, Sumana Som, and Varunika Saraf, to a widening base of patrons, collectors, and galleries like Kalakriti Art Gallery and Dhi Art Space played a vital role in fostering a grassroots passion for art. We’re seeing a steady rise of Hyderabad’s role in India’s art scene.” Artist and filmmaker, Amshu Chukki recorded the geological landscape of the city with his paintings, Secret Petrological Society – 1, 2, and 3, represented by Mumbai’s Chatterjee and Lal Gallery booth at the festival. His experimental film shed light on how Hyderabad’s prehistoric rock formations have been declining for decades.
Calcutta-based artist, Avijit Dutta, represented by Kalakriti Art Gallery, showcased the spirit of spontaneity in nature, existential challenges, and personal experiences. In ‘Of Veering Moods and Conversations’, he depicted two women facing each other. For this, the artist highlighted the eyes of his muses. “I have used many mediums throughout my life, but I finally found comfort in tempera,” he said, adding that he found comfort in subdued colours.
The exhibition ‘Mélange’, held in March, allowed contemporary artists to experiment with acrylics, tempera, oils, and printmaking to illustrate stories from the life they observe around them and demonstrate their lived experiences and memories in a visual biography. The use of multiple mediums helped in recording their journeys in meticulous detail. For example, Sumanto Chowdhury’s dreamy countryside depicted thatched huts that highlighted textures in vermillion and brick pink, through a combination of lines, symmetry, and pencil work. His use of vibrant reds, yellows, and oranges reawakened the viewer’s dormant joy.
Taking us to a different genre of painting and soaking us into history, a workshop was organized by INTACH Hyderabad, The Deccan Archive (TDA), and The Hyderabad Walking Company (THWC) at Salar Jung Museum in June. The focus of the workshop was on the Deccan school of miniature paintings, helping people learn the basic principles of art and identify the period of paintings and manuscripts by their design, colours, and content. These artistic masterpieces offer valuable insights into the lives of individuals and societies, providing a window into the past.
Pointing at a 17th-century painting of Abdullah Qutb Shah, shown standing in an enclosure with a group of ladies adorning beautiful pearl jewellery, Sibghat Khan, founder of TDA said, “If you look at the central figure in the painting, you would see the king displayed as the tallest, most influential person in the picture. The king can be identified with a halo around his head, and an eagle perched on his hand suggesting that he is probably headed for shikar because those were the birds used for hunting at that time and a host of vases seen behind him displayed blue to depict the porcelain objects imported from China.” Zooming into the painting one would be able to notice the kohl of women’s eyes, the mehendi in the king’s hands, and the finest strands of hair standing out from the turra of his cap.
As going back in time remained a continuous exploration, Kalakriti Art Gallery helped us expand our conceptual dimensions through its exhibition, ‘Sands of Time II’ in July. Curator Suroopa Chatterjee shared how the concept of time functions as an archive of all historical, political, social, and personal perspectives. Artists used their personal experiences to create visual dialogues and address the changes and shifts in society. Artists such as Avijit Dutta, Karl Anto, Archisman Roy, George Martin, and others delicately explored the nuances of time’s enigmatic embrace.
Come August, Orijit Sen was in town, introducing us to his representation of the city through his artworks in ‘Heart-ich Hyderabadi’, an exhibition by Kalakriti Art Gallery. Exploring the question, ‘What makes one a Hyderabadi,” Sen depicted the old city’s intimate neighbourhoods and bustling bazaars, in their process of ‘making identities’. These ‘places’ possess dimensions that extend beyond their geographies—as storehouses of memory, history, folklore, and lived experience.
Last month, Kalakriti hosted another talented artist — Trupti Joshi, whose visual composition, ‘Second Self’, depicted an interesting interplay of light and shadows, specifically highlighting how our shadows serve as constant reminders of our inner selves. Shadow never betrays; it always remains true to us. However, on a blank canvas, they add another dimension to an unknown subject. Trupti has been an observant individual since childhood. The daily household would catch her attention. Her paintings emphasized the structure and form of the objects, while shadows added depth and insight, while still maintaining innocence and simplicity.
Finally, earlier this month, we saw Avani Rao Gandra’s curation of some brilliant artworks under the title, ‘The Rose and a Thorn,’ that brought inherent contradictions of the world to the spotlight. No less than 20 artists showcased how art and poetry not only complement each other but also provide a canvas for the ironies of the world, accentuating subjective truths and realities within the illusions of life.
A special mention must be made to the awards won by city-based artists. Varunika Saraf, artist, and historian, draws on archival sources, talking about the present ramifications of historically prevalent social issues of caste discrimination and feminism. She won the 2023 Asia Arts Game Changer award, a fitting recognition of her discursive artistry. The award was bestowed by the Asiatic Society. The other mentionable artist to win an award this year was Harsha Durugadda, who bagged the Emerging Artist Award South Asia 2023 by The Arts Family (TAF), London for his exceptional contemporary sculptures.
With hopes galore, we look forward to an even more artistic new year!