
International Museum Day: NGMA in Bengaluru to host series of events till May 31
On Sunday, May 18, the museum will offer free entry and extended hours until 9 p.m. Highlights include a community engagement workshop, Playful Path to Museum Setup, at 3 p.m., and an online presentation by Ambika Patel, president of the International Council of Museums (ICOM), discussing museum practices and standards in India.
A free shuttle service between Cubbon Park Metro Station and NGMA will be available from 10 a.m. to 9 p.m. on May 18.
Other events include storytelling sessions by Mamta Sagar and team on May 20 to 22 at 4 p.m., and a talk by Alka Pande on Devis, focusing on Karnataka, on May 30 at 5 p.m. The celebrations conclude on May 31 with the 'Sanhitha exhibition', a Braille and tactile art showcase at 11.30 a.m., followed by a puppet show by Dhaatu at 5 p.m. on the NGMA premises on Palace Road, Vasant Nagar.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Time of India
5 days ago
- Time of India
Sohini Roychowdhury introduces children to Bharatanatyam through Nrityasutra masterclass at Mumbai
Bharatanatyam dancer and educator Sohini Roychowdhury conducted a dance masterclass titled Nrityasutra at the National Gallery of Modern Art (NGMA) in Mumbai, bringing the classical tradition of Bharatanatyam to a group of 100 schoolchildren. Tired of too many ads? go ad free now Organised by the Ministry of Culture, Government of India, the session aimed to introduce young participants to the expressive language of classical dance. The workshop marked the launch of Sohini's new initiative, Land of Happy —a programme that uses dance and storytelling to foster empathy, inclusivity, and emotional well-being among children, including neurodivergent learners. Blending traditional Bharatanatyam elements like mudras , abhinaya , and structured postures with contemporary music, including the compositions of Beethoven, Sohini guided the children through a session that explored dance as a means of personal and collective expression. The class focused on three thematic pillars: Shiva, nature, and inclusivity. Shiva was presented as a symbol of energy and transformation, not solely as a deity, while nature was interwoven through movement and metaphor. Inclusivity remained central throughout, as the children were encouraged to use dance as a way to tell their own stories, regardless of background or experience. Commenting on her approach, Sohini shared, 'Let the dance, the empathy come from deep within your core—not just physically but spiritually as well—and teach you to be kind and happy.' The session concluded with a quiet energy, leaving the children with an introduction to Bharatanatyam not just as performance, but as a pathway to self-awareness and shared understanding.


Time of India
17-07-2025
- Time of India
Shakespeare meets Surrealism in Dalí works at Victoria Memorial
On May 16, International Museum Day, the Victoria Memorial museum brought out twin rare gems from its formidable collection of art — two Salvador Dalí colour etchings from his Macbeth series, originally created in 1946 as illustrations for William Shakespeare's play. Dalí details You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata These two small, pencil-signed works, printed from copper plates onto Japanese rice paper, complete with cotton threads, were donated to the Victoria Memorial in 1990 by Kolkata-born, US-based artist Bimal Banerjee, who had received them directly from Dalí in 1972. These are the only original Dalí etchings currently held by any Indian museum. Showcased in the ongoing exhibition as 'Objects of the Month', this is only the third time in 32 years that the two Dali etchings have been put on public display. They were briefly displayed in 1993 after the donation, shown in 2014 and are currently on view at the Central Hall (Queen's Hall). "It is exciting to know that the Victoria Memorial Museum is currently showing two etchings. These two works hold unique characteristics of Dali's style; students, art enthusiasts, and scholars will surely enjoy experiencing these two original Dali prints within the museum context," said Susanta Mandal, artist and professor of fine arts. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Why seniors are rushing to get this Internet box – here's why! Techno Mag Learn More Undo Officially listed in the Victoria Memorial's collection as R7695 and R7696, the etchings will be on display through July 2025. Surrealism meets Shakespeare Although untitled, experts have often attributed both etchings to the 'Witches' Cauldron' scene in Macbeth (Act IV, Scene I). Dalí created a set of 12 illustrations for Shakespeare's tragedy, often featuring recurring symbols from his individual Surrealist style that signal psychological themes, particularly in key dramatic moments like the witches' cauldron scene. One exhibited etching is believed to depict Macbeth confronting the witches. The presence of a key — a recurrent Dalí motif that represents unlocking the mind (and sometimes the sexual unconscious — highlights Macbeth's moral and psychological dilemma. First shown in 1946, the set of Dalí's Macbeth etchings had prompted The New York Times reviewer W. Gibbs to describe the series as 'one of the season's most provocative works of art', praising the Spanish master's strong pen-and-ink control, complemented by melting, dreamlike distortions. In 1946, as now, his fantastically odd combination of classical and Surrealist imagery both fascinated and unsettled audiences. "The twin Dalis at Victoria are a must see - simply because they are there, just like Mount Everest. Dali offers massive entertainment from inside as well as around his creations. He was a master exhibitionist who loved to create stir by any means. If you put these two names, Macbeth and Dali, side by side, controversy is a given! I am eager to witness his wicked satire, live in Kolkata," said Suvamoy Mitra, author, illustrator and photographer. Kolkata's rich art repository Along with the Dalí's, on display at the Victoria Memorial are one of the largest collections of aquatints and watercolours by English uncle-and-nephew duo Thomas and William Daniell from the British colonial period. Their work remains among the most important visual records of India under the East India Company, capturing architecture, landscapes, and people in 18th and 19th century India, with both artistic elegance and documentary precision. There are also works by Johann Zoffany, Samuel Davis and Vassili Vereshchagin's The State Procession of the Prince of Wales into Jaipur, 1876 , a monumental oil painting (~7 × 5 m), the third largest canvas in the collection. Tips for appreciating the etchings Bring a magnifier (if allowed): This could help spot delicate details — threads on Japanese paper, pencil signatures, and the fine lines of Dalí's draftsmanship Focus on surreal motifs: Keys, distorted forms, ambiguous space — all indicate deeper psyche themes. Observe how Dalí reinterprets Shakespeare through Surrealism Contextualise with text: Try reading the relevant Macbeth scene (Act IV, Scene I, 'Witches' Cauldron') beforehand to align Shakespeare's emotional tone with Dalí's visuals


Indian Express
13-07-2025
- Indian Express
How Subodh Gupta uses kitchen utensils to make art
(This is part of a series on Indian masters and the motifs that appear repeatedly in their works. Next: MF Husain's Horses) Subodh Gupta, the first contemporary Indian artist to cross the one-million-dollar mark in an auction in 2008, is renowned for his ability to transform quotidian objects such as tiffin boxes, milk cans and bicycles into monumental and thought-provoking art installations. Kitchen utensils, both old and new, have been a recurring motif in Gupta's art, used to comment on a range of subjects, from the political and socio-economic to the familial. Kitchen shelves to art Growing up in a railway colony in Khagaul, Bihar, some of Gupta's fondest childhood memories are from being in the kitchen with his mother. The artist vividly recalls the moment in 1998 when he first discovered the artistic potential of everyday utensils. 'As light suddenly entered the kitchen through the window, the shining utensils caught my eye. I brought all of them into my living room and began putting them together to create different forms. From then on, they became part of my art,' Gupta recalled. Sourced from shops, craft clusters, factories, as well as junkyards, each utensil tells a different story, Gupta said. 'Every single one of them is unique. They carry so many memories, including of those who once owned them. As an artist, if I delve into each individual story, I am bound to get lost. When I bring them together, I give them another life, another meaning altogether,' he added. Finding new meanings A graduate from the College of Art, Patna, Gupta has shaped kitchen utensils in diverse forms over the years, beginning with his first solo held at Chemould Prescott in Mumbai in 1999. One of his early works incorporating utensils was The Way Home (II) (2001), featuring a life-size white cow encircled with stainless steel utensils and bronze and chrome-plated country-made pistols. The work symbolised the changing political and economic landscape of India, and the political violence Bihar was witnessing in the 1990s. His installation UFO (2007) comprised brass utensils soldered together to resemble a flying saucer, which commented on 'notions of otherness'. Shaped like a mushroom cloud, his installation Line of Control (2008) served as a metaphor for conflicts and political tensions in Kashmir. Among his most recognised works made with reflective stainless steel kitchen utensils, Very Hungry God (2006) featured a life-sized human skull to symbolise the human condition and themes of consumerism and globalisation. Outside the National Gallery of Modern Art in Delhi, meanwhile, is his banyan tree Dada (2007). Borrowing its title from the Hindi word for grandfather, the installation reflects on the theme of rootedness and growth, as well as Dadaism, the avant-garde art movement of the early 20th century. For My Family Portrait (2013), Gupta took utensils from his brothers and sister to design hanging kitchen racks. Different forms Gupta has also explored utensils as conceptual tools, painting them on canvases and also centring performances around installations. 'I'm also exploring abstract ideas and thoughts… It's like samudra manthan, something new emerges every time,' Gupta said. French curator and art critic Nicolas Bourriaud wrote: 'The material used in most of your work is a veritable conceptual trap that reveals a cultural gap. What appears luxurious in the West is part of the lexicon of insecurity over there: your work can be compared to a trader who transports material that is plentiful in one place and rare in another.' ('On Cultural Precarity: A letter to Subodh Gupta', 2008). Gupta, at present, is preparing for another performance art piece. To take place at the Bukhara Biennial in Uzbekistan in September, this piece will utilise traditional ceramic utensils to construct a large dome structure to explore the culinary and architectural links between Uzbekistan and India. It will also see Gupta, in collaboration with Uzbek chef Pavel Georganov, preparing a menu that will bring together Indian and Uzbek cuisine. He said: 'Art has a universal language, so do utensils and food… Here, I will be interacting with my audience as they become part of my work…'.