Mela Phulkari I 1469

Group Exhibition of Punjab and Phulkari – art installations, ceramics, jute, metal

The exhibition Mela Phulkari, presented by 1469 and curated by Alka Pande, was aimed at reviving the artform of phulkari and bringing in a fresh whiff of all pretty and popular things from Punjab. Phulkari, the popular embroidery technique of Punjab is not only a well-appreciated textile craft, but also a happy blend of colours and culture. The exhibition became a platform where on display werecolourful pakhis (hand fans), madanis (butter churner), tillajutis (footwear), Manja (village cots), parandis (the festive hair accessory), and not to forget the rich textiles and embroideries.The feast for the eyes paved way for ears too. Visitors were greeted by traditional musical instruments such as sarangi, nagada, dilruba, and dhadd. The concept was aimed at serenading urban Delhites and pampering their senses. The event saw a revival of art, craft, and culture in the feistiest form. The exhibition presented over 150 year old phulkaris, some of which belongs to the brand 1469, while a few were borrowed from the personal collections of royal families for public viewing. The ‘Mela Phulkari’ became the iconic image of the cultural identity of the state. The novel concept not only offered economic independence to the women-power, but also provided financial aid to the widows who were victims of farmer suicides in Punjab. 1469 is actively developing centres in various belts of the city to promote and popularize the art of phulkari. Phulkari is a metaphor that represents not just as a textile on which the women of Punjab embroider their dreams and their lives, but a leitmotif that represents the complex web with which the crafts and culture of the land are enmeshed.

Group Exhibition of Punjab and Phulkari – art installations, ceramics, jute, metal
12th April – 24th April 2014, Open Palm Court Gallery, India Habitat Centre
Curated by
Dr. Alka Pande

Theatrescapes : Experience Rasas

Edited by Dr.Alka Pande , 2014

The book essays the 30 Years journey of the visual archivist Shobha Deepak Singh in the theatre after post Independance.The collection of photographs in the book is a parallel archive to the more academic readings of the theatre with a marvellous documentation of the passions,emotions and spectacle.

The Kamasutra- Spiritualite et Erotisme dans I’art indien-Pinacotheque De Paris-Catalogue

Dharma is better than artha, and artha is better than karna. But artha should always be first practiced by the king for the livelihood of men is to be is to be obtained from it only. Again, kama being the occupation of public women, they should prefer it to the other two, and these are exceptions to the general rule. -Kama Sutra

Curated by
Dr. Alka Pande


Tina Chandroji

Sponsored by the Art Space Galley (Mumbai), the exhibition

Unlike the times of 1960s–80s, when selected Indian artists made noise in the western world of art, today Indian art openly “unpacks” itself to the viewer. It allows the viewer to come and read through the labyrinth of Indian motifs and metaphors. What makes this process of “packing”, “showcasing”, and “display” interesting is the fact that Indian art remain rooted in the past and present. The pre-colonial Indian traditional art practices and motifs are easily located in the present-day Indian art piece. The alternative gaze has subverted the conventional sociocultural hierarchies. The new wave of cosmopolitan and modernity has led to cultural pluralism. The artworks of Tina Chandroji in similar line, “unpacks” the supremacy of belief in God within the Indian tradition. Born in the metropolitan state of Mumbai, Tina has witnessed the togetherness of cultures – urban and rural, centre and periphery. She explores and dismantles this binary through her artworks. The dialogue between art, politics, and culture seek democratic art form, where the independence of artists lies in the fact that celebrates the cross-cultural framework. Through the new language of subsuming difference, Tina reclaims the reality. The reality is no more given but the artist reclaims the reality embedded deep within the high and profane.

Curated by
Dr. Alka Pande