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India Today
4 days ago
- Entertainment
- India Today
Satyajit Ray through Nemai Ghosh's lens
Light and Shadow: Satyajit Ray through Nemai Ghosh's Lens is now on view at Kolkata's Alipore Museum, presented by DAG in collaboration with the museum. The exhibition offers a rare and intimate look at the life and work of Satyajit Ray, one of India's greatest filmmakers, as captured over 25 years by photographer Nemai Ghosh. It remains on display until September 13.
Mint
4 days ago
- Entertainment
- Mint
Artist Madhvi Parekh presents fantastical worlds in a new solo show
At DAG, Delhi, an exhibition of paintings offers insight into artist Madhvi Parekh's prowess as a storyteller. The solo presentation, Madhvi Parekh: Remembered Tales, features a set of newly completed works by the 83-year-old artist. Canvases often feature narratives nestled within one another. In Goddess of My Village, an acrylic on canvas (2023), two heads appear to be connected by a tapering tubular form. This slender conduit, of sorts, contains smaller figures—plants, fish, fantastical organisms—creating a world within a world. You could assume that the two connected figures have subsumed these smaller creatures, or that their overall persona is the sum of all these little beings. The painting also features deities within temples, anthropomorphic creatures with human heads and piscine bodies, totemlike structures, and more. In another part of the gallery, another set of stories unfurls within Pond in my Village (2024). The scene seems to be set in some surrealistic realm, where the city and the village, the real and the dreamlike come together. Parekh populates her worlds with patterns, dots, dashes, embroidery-like textures, hybrid beings, and leaves their interpretation to the viewer. I meet Parekh at her home in Delhi's Chittaranjan Park in between spells of rain. The self-taught artist is a reluctant conversationalist, but her paintings speak a great deal on her behalf. In her creations, time frames collapse into one another, the past exists with the present. She brings scenes from the city and her memories of growing up in the village of Sanjaya, Gujarat, together in a single canvas with ease. The bird or pakshi is a recurring motif. It stands as a symbol of a free-spirited being, who travels between memories and geographies. To me, it represents Parekh herself, who takes the viewer by the hand on this time travel. The wide-eyed figures, which have become so emblematic of her practice, continue to make their presence felt in works such as Flower Vase in My Family (2024) and the triptych Travelling Circus in My Village, as representations of curious seekers. Also read: Planner: A lot of art with a side of theatre, 5 events to enjoy a cultural weekend Also on display at the exhibition are her sketchbooks, featuring drawings spanning 1978 to 2018, from DAG's archive, which show the evolution of the artist—from using textured backgrounds in the 1970s to the way she has built on everyday observations in her practice over time. 'For me, drawing is the foundation of everything. It offers a sense of freedom. Even now, while waiting at airports, I carry a book in which I keep sketching," she says. Accompanying the exhibition is a publication featuring scholarly pieces on Parekh's practice by Rebecca Brown of John Hopkins University and critic-writer Meera Menezes. Parekh often harks to the past in her conversations. 'Puraane dino ki baatein karne mein bohot accha lagta hai (It feels great to reminisce about the olden days)," she laughs. She lives with memories of ponds, mustard fields, temples, wedding processions, circus performers and behrupiyas (impersonator), who would visit her village during festivals. Parekh was raised with Gandhian philosophy propagated by her father, who was an educator. 'I grew up with three sisters and two brothers, and my father never discriminated between us. He was a selfmade man, who taught us the value of hard work and the importance of making full use of time," she reminisces. She got married to artist Manu Parekh at the age of 15 and moved to Mumbai, where they stayed in a small fifth floor apartment. There, everyday urban struggles took over, from water troubles to daily chores. Even then, art made inroads into her life. The couple would visit exhibitions at Jehangir Art Gallery and have elaborate discussions. She was in her 20s and pregnant with her oldest daughter, Manisha, when she decided to pursue art herself. 'I wanted to give my child a good sanskar (culture). So, I decided to take up something creative," she says. Also read: Morii Design: How a Gandhinagar-based studio is sewing up a stitch library Her husband, who had studied at Sir JJ School of Art, introduced her to Paul Klee's Pedagogical Sketchbook, and Parekh started experimenting with geometrical forms. She formed her own connections with memories of paintings on walls in her village during weddings and festivals and created her own language of dots and lines. The resulting vocabulary was so unique that even now experts find it hard to categorise it as a specific genre or style. Some find elements of primitivism while others see the folk imprint. 'At most, it can be said that her work parallels folk art, even though it is not like any known folk form in India or elsewhere, and has the rawness and energy associated with modernism," states the gallery note. It is this distinctive style that has seen Parekh in the international spotlight in recent years. In 2022, her paintings were chosen by Christian Dior as a backdrop to its haute couture show in Paris. This was followed by a show for Manu and Madhvi Parekh at the Venice Biennale (2024). Parekh's works are now part of major collections such as the Metropolitan Museum of Art, New York. Fellow artist and husband, Manu, puts it best: 'She is a modern painter with a rural sensibility. She is not constrained by the idiom of folk art. And that gives her immense scope to evolve and grow." He finds immense depth in the practices of self-taught artists like Parekh and Bhupen Khakhar. 'I find the term 'self-taught' to be a misnomer. They too have learnt from someone and something. Instead of one teacher, they have 10 gurus. Their mind and intellect is their master too," he says. For Parekh, layers of experience have kept building on one another, enriching her visual syntax. The childhood memories of intricate and vibrant paintings on the dome of the Swaminarayan temple in her village, the narrations of Ramayan and Mahabharat during festivals and bhavai performances were joined by visits to international museums and institutions such as the Miro Foundation, Barcelona, with her husband. The paintings of Henri Matisse left a huge impression on her. A visit to the Holocaust History Museum in Jerusalem a few years ago shook her to the core. 'Mann mein dukh lag raha tha (the heart was heavy). That's when I saw the figure of Jesus outside with his composed visage, and I started exploring the figure of Christ in my paintings," she says. Parekh imbibed learnings from fellow artists such as Nalini Malani, who taught her the reverse glass technique. The initial Christ series (2006) were made in this style. Later Parekh started working more with acrylics and canvas. Together with Malani, Arpita Singh and Nilima Sheikh, she also participated in a travelling exhibition called Through the Looking Glass in 1998. Also read: Three Indian galleries expand their presence in London with a unique showcase Textile has also played a huge role in her practice, with influence of kantha, kalamkari and sujani embroideries evident in her work. 'Back in our village, we all learnt embroidery and how to make the rangoli. During my travels, I saw different styles in different parts of the country. The colour scheme and patterns of the rangoli have always held a huge attraction for me," she elaborates. While Manu was posted in Kolkata as part of his work with the Weavers' Service Centre, Parekh was a keen participant in Kali and Durga pujas. The figure of the Goddess and the texture of kantha made its appearance in her work at the time. Meera Menezes, in her essay titled Madhvi Parekh's Fabular Worlds in the accompanying publication, writes about that time period. 'Her painting Ganesha in Boat was sparked by a stray remark—a person recounted to her that they made a Durga in a boat, leading Madhvi to experiment and place the elephant god in a boat. Like Durga, Ganesha too is a popular god, and Madhvi recalls his importance in rituals she experienced while growing up in Gujarat." More than anything else, it is the sense of play in her works that appeals to viewers and critics alike. 'There is always a reel going on in my mind. There used to be a pond in my village. My mother used to prohibit us from going there. In my realm of fantasy, I go there often. Later, when my eldest daughter was born, and I had to go to the Madras Art Camp, I used to wish for wings so that I could go home, feed her and then come back to paint. Such elements make their way from the mind to the canvas," she says. At DAG, New Delhi, till 23 August.
Khaleej Times
22-07-2025
- Science
- Khaleej Times
Fact check: Will UAE see the longest total solar eclipse of the century on August 2?
Social media has been abuzz lately with news of a stunning solar eclipse to occur on August 2. While the claim is not false, there is an important detail to note: the astronomical event will take place two years later on August 2, 2027— not next month. The total solar eclipse will be the "longest of this century," lasting over 6 minutes and 23 seconds in the path of totality," and will begin at 1.25pm according to Khadija Al Hariri, Operations Manager at Dubai Astronomy Group (DAG). It is the longest since 1991 and until 2114. While the solar eclipse is a total one, in the UAE, only a partial eclipse will be visible. This is also the case in countries like Oman, Jordan, Iraq, and parts of India. In Dubai, the moon will cover around 53 per cent of the Sun creating a crescent-shaped sun at the peak of the eclipse; other emirates will see between 50 and 57 per cent coverage, Khadija added. According to DAG, the path of totality stretches across southern Spain, Morocco, Algeria, Tunisia, Libya, Egypt, southern Saudi Arabia, and Yemen. These regions will see the sun completely blocked out, revealing a spectacular solar corona in the sky. What's special about the solar eclipse? Other than the longest duration of the century, it is a once-in-a-lifetime event for many in the region. The last partial solar eclipse visible from the UAE was on October 25, 2022; the next one after 2027 will be on June 1, 2030. Residents will have to wait over 50 years for the next total solar eclipse visible in the country, which will be on September 3, 2081, Khadija said. In addition, a spectacular total lunar eclipse will be visible on September 7, 2025. The 2027 event will allow millions to witness it, with major cities being on or near the path of totality, giving it rare visibility in most parts of the world. While solar eclipses happen around two to five times each year around the world, they vary in type. Partial eclipses are relatively common; however, total solar eclipses are very rare events, often separated by many decades or even centuries. Precautions during the eclipse While the sight will be a stunning one to behold, viewers must never look directly at it. DAG shared some important precautions to take during the event: Never look directly at the sun without proper eye protection. Even a brief glance can cause permanent eye damage. Always use ISO 12312-2 certified solar viewing glasses; regular sunglasses, no matter how dark, are not safe. If using binoculars, cameras, or telescopes, ensure they are fitted with solar filters over the front lens. Using optical equipment without proper filters can concentrate sunlight and cause instant eye damage. For indirect viewing, consider using pinhole projectors or solar projection methods, which allow you to observe the eclipse safely without looking at the Sun. Live stream With UAE residents anticipating this rare celestial phenomenon, the Dubai Astronomy Group will host a public viewing event in the UAE.
India Today
18-07-2025
- Entertainment
- India Today
Madhvi Parekh's art
Madhvi Parekh's acrylic-on-canvas painting 'Travelling Circus in My Village' (80 x 240 inches, 2024) is one of those large-scale works that simply have to be seen in the flesh. The pixels on your screen cannot come close to reproducing its ambition, its grandeur, its irresistible strangeness. A messianic figure lies at the centre of the triptych, holding a snake aloft like a canopy above his head, the faithful gathering around him slowly. An array of human-animal hybrids fills every corner, the chimeras ranging from a biped cow to a snake with a human head, to a horse that has a human face nestled close to its heart. All the while, a determined-looking man carries a temple on his back. Like the triptychs of Dutch painter Hieronymus Bosch, 'Travelling Circus in My Village' tells a story sequentially, and it seems to acquire new details with every fresh glance. The work is part of Madhvi Parekh: Remembered Tales, a solo exhibition at DAG, Delhi, that started on July 11 and shall conclude on August 23. Photo: Bandeep Singh
Time of India
17-07-2025
- Entertainment
- Time of India
Alipore Museum to exhibit Satyajit Ray photographs by Nemai Ghosh
The Alipore Museum, in collaboration with DAG, is set to host an exhibition showcasing photographer Nemai Ghosh's extensive documentation of Satyajit Ray KOLKATA: The Alipore Museum, in collaboration with DAG, will host photographer Nemai Ghosh 's decades-long documentation of the esteemed filmmaker Satyajit Ray , featuring both black-and-white and previously unseen colour photographs starting Friday. The exhibition, titled 'Light and Shadow: Satyajit Ray through Nemai Ghosh's Lens', will be open to the public until September 13, 2025. It will present a detailed portrayal of Ray, one of India's most celebrated filmmakers, and offer insights into his life and creative process through numerous iconic and rare images. These photographs include actors, scenes, sets, and locations from Ray's films, as well as the director at work. While primarily recognized for documenting Ray's films and the filmmaker himself, the exhibition also highlights Ray's extensive documentation of his cinema that is less widely known. This collection serves as a tribute to Ray, showcasing Ghosh's photographs as a testament to Ray's extraordinary life and his storytelling through the lens. You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata 'Ray's dedication to his craft led Ghosh to follow him like a shadow and conditioned him to the exacting demands of the maestro. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Is it legal? How to get Internet without paying a subscription? Techno Mag Learn More Undo Over the course of a 25-year association that began on the sets of Goopy Gyne Bagha Byne, Ghosh remained steadfast in upholding the values that defined Ray's artistic vision. In Ray, Ghosh found not just a filmmaker but a mentor and friend; no other director's set quite measured up. With Ray's encouragement, what began as a passion evolved into a profession, and Ghosh was eventually credited as 'Unit Stills Photographer'," said DAG chief executive officer and managing director Ashish Anand. Nemai Ghosh's photography extended beyond Ray's film sets into his personal life. Ghosh frequently visited Ray's home and often captured him playing the piano, working at his drawing board, or conversing quietly with friends and family. He photographed Ray in moments of deep reflection, whether at home, in his studio, or on location, portraying him akin to a meditative yogi. Through solitary walks, lighter moments during shoots, and silent contemplation in open fields, Ghosh created a nuanced and human portrait of the filmmaker. These candid images form a significant part of Ghosh's visual biography of a man he viewed as both extraordinary and grounded. Ghosh's photography explored Ray's multifaceted talent in every aspect of filmmaking, including scriptwriting, set and costume design, camera operation, editing, music composition, and directing. Ray was known for crafting psychologically complex stories, favouring naturalistic dialogue and often casting non-professional actors. His direction emphasized spontaneity and subtle emotional depth, frequently requiring minimal takes while maintaining a meticulous artistic vision, influenced by his painterly background from Santiniketan to create visually and emotionally resonant films. Deeply influenced by neo-realism, particularly De Sica's Bicycle Thieves, and Jean Renoir's humanistic storytelling, Ray's cinema exhibits a lyrical quality that transcends time and place. The photographs not only document Ray's cinema but also reflect the profound understanding between Ghosh and Ray, enabling Ghosh to place his camera precisely yet unobtrusively within the action.
