Tangible elusiveness
A part of "Affidavit", the exhibition by Bharathesh G.D. at Bar1 (May 12 to 14), one faced on entering the space was meant, as the title suggested, to only document or merely indicate the character of the works he had displayed in Bern after his Swiss residency last year.
Without being able to experience it as art, one gathered that the series revolving round "Sound Signature" 'where language takes form and sound remains abstract' proved the mutually responsive but enigmatic and resistant to measurement interdependence of what ones sees and hears.
Although the effort at somewhat evoking the feel of the Swiss event through screening a silent video did not succeed, the viewer could realise how much the current preoccupation with synaesthesia came from elements dormant in his earlier multi-media endeavours.
This led to the best results in the new sculptural installation which based on Bharathesh's familiar fascination with very intense, overbearing and raw sensations that trigger a layered potential of not exclusively divergent associations of meaning, while an intuition of dynamic and strong but not quite clear processes and emotions arising is generated.
If one found such approach to art-making suitable to the nature of the social and natural environment in India before, the impression persisted this time too.
The installation "Remains as it can" indeed enhanced the premonition of several levels and manifestations of things observed in their shaping, the very impermanence of the main substance used underscoring the powerful yet ungraspable impact of the phenomenon simultaneously on different senses.
In the dim room, one first felt the blend of the aesthetic and the rough, as three simple, black pedestals covered in glass carried dark, serpentine bodies that expanding emerged from tiny chemical tablets normally used in fire crackers during festivals here.
Slowly, one began to notice that a laser beam grid cut across the forms making them burn at some points. The red lines in the air, becoming more lucid amid smoke and yet intangible, generated grainy, glowing wounds in the curving volumes whose almost ornamental curlicues acquired a sensuous coarseness that let one remember organic life and human skin.
Smelling the partly natural, incense-like aroma and attuning oneself to the sharp-dull-cracking-windy sounds recorded while handling the material, one could gauge the ambiguous, subtle and irresistible force of the imperceptibly exploding substance that unfolds by itself and which doomed science tries to name in chemical formulae and span within laser rays.
Even if the burning was too slow to spot, the awareness that everything there would eventually turn into ashes heightened the aura of life ever processing itself and fragile in its mutating expressiveness.
This piece being truly powerful, one may not have paid equal attention to the video screened nearby, especially that it did not always function well.
One from the "Sound Signature" cycle, it took advantage of the hall architecture so as to conjure a somewhat painting-like frame for the picture in a recess, both elements of the video creating flickering abstract patterns and stretches of pastel hues that may have let one think of landscape.
Whereas the artist's explanation helped the spectator feel the sculptural pieces better, coming to know here that the very pleasant visuals had been drawn from retina and eye scans did not really flesh out the intended content and left one wondering whether to connect the rhythm with sound.
Farming abstraction
The display of paintings by Roshan Sahi which happened some time ago at Jaaga looked unpretentiously nice but made one wonder about the anachronistic the manner in which they handled abstraction.
The saturated brightness of the few smallish compositions was muted on a cultured note without overstressing contrasts but bringing out gentle pulsations from underneath.
Against the large white backgrounds, the works added together to aesthetic design.
The viewer was taken by their innocence but at the same time baffled by the date nature of their content that in fact could be associated with early phases of European Modernism, something one does not encounter much here nowadays.
Evidently non-representational in their look and intention, they works nonetheless appeared to be compelled to hold abstract forms within relatively defined contours of forms close to geometry, as though the artist did not have enough courage yet to free himself from representation at least in such terms.
The motifs of repeating varied arching shapes and fanning out ones with straight lines allowed one think of Futurist or even Vortricist precedents, original ones as well as absorbed by older art school teaching in this country.
Marta Jakimowicz
A part of "Affidavit", the exhibition by Bharathesh G.D. at Bar1 (May 12 to 14), one faced on entering the space was meant, as the title suggested, to only document or merely indicate the character of the works he had displayed in Bern after his Swiss residency last year.
Without being able to experience it as art, one gathered that the series revolving round "Sound Signature" 'where language takes form and sound remains abstract' proved the mutually responsive but enigmatic and resistant to measurement interdependence of what ones sees and hears.
Although the effort at somewhat evoking the feel of the Swiss event through screening a silent video did not succeed, the viewer could realise how much the current preoccupation with synaesthesia came from elements dormant in his earlier multi-media endeavours.
This led to the best results in the new sculptural installation which based on Bharathesh's familiar fascination with very intense, overbearing and raw sensations that trigger a layered potential of not exclusively divergent associations of meaning, while an intuition of dynamic and strong but not quite clear processes and emotions arising is generated.
If one found such approach to art-making suitable to the nature of the social and natural environment in India before, the impression persisted this time too.
The installation "Remains as it can" indeed enhanced the premonition of several levels and manifestations of things observed in their shaping, the very impermanence of the main substance used underscoring the powerful yet ungraspable impact of the phenomenon simultaneously on different senses.
In the dim room, one first felt the blend of the aesthetic and the rough, as three simple, black pedestals covered in glass carried dark, serpentine bodies that expanding emerged from tiny chemical tablets normally used in fire crackers during festivals here.
Slowly, one began to notice that a laser beam grid cut across the forms making them burn at some points. The red lines in the air, becoming more lucid amid smoke and yet intangible, generated grainy, glowing wounds in the curving volumes whose almost ornamental curlicues acquired a sensuous coarseness that let one remember organic life and human skin.
Smelling the partly natural, incense-like aroma and attuning oneself to the sharp-dull-cracking-windy sounds recorded while handling the material, one could gauge the ambiguous, subtle and irresistible force of the imperceptibly exploding substance that unfolds by itself and which doomed science tries to name in chemical formulae and span within laser rays.
Even if the burning was too slow to spot, the awareness that everything there would eventually turn into ashes heightened the aura of life ever processing itself and fragile in its mutating expressiveness.
This piece being truly powerful, one may not have paid equal attention to the video screened nearby, especially that it did not always function well.
One from the "Sound Signature" cycle, it took advantage of the hall architecture so as to conjure a somewhat painting-like frame for the picture in a recess, both elements of the video creating flickering abstract patterns and stretches of pastel hues that may have let one think of landscape.
Whereas the artist's explanation helped the spectator feel the sculptural pieces better, coming to know here that the very pleasant visuals had been drawn from retina and eye scans did not really flesh out the intended content and left one wondering whether to connect the rhythm with sound.
Farming abstraction
The display of paintings by Roshan Sahi which happened some time ago at Jaaga looked unpretentiously nice but made one wonder about the anachronistic the manner in which they handled abstraction.
The saturated brightness of the few smallish compositions was muted on a cultured note without overstressing contrasts but bringing out gentle pulsations from underneath.
Against the large white backgrounds, the works added together to aesthetic design.
The viewer was taken by their innocence but at the same time baffled by the date nature of their content that in fact could be associated with early phases of European Modernism, something one does not encounter much here nowadays.
Evidently non-representational in their look and intention, they works nonetheless appeared to be compelled to hold abstract forms within relatively defined contours of forms close to geometry, as though the artist did not have enough courage yet to free himself from representation at least in such terms.
The motifs of repeating varied arching shapes and fanning out ones with straight lines allowed one think of Futurist or even Vortricist precedents, original ones as well as absorbed by older art school teaching in this country.
Marta Jakimowicz
Well-known classical singer Nagaraj Rao Havaldar took the stage at the Ananya Sabhangana, Malleswaram recently to present a Hindustani recital to the music-lovers of the City. 
High in the Wallowa Mountains of northeastern Oregon, Raina K Plowright and other researchers took blood samples of a herd of bighorn sheep apart from taking swabs of their noses and throats. "There's lots of places for pathogens to hide in the nasal cavity," said Plowright, a wildlife scientist with the Center for Infectious Disease Dynamics at Penn State. This is part of the nascent field of eco-immunology, which seeks both to understand the immune systems of wild animals and to use that knowledge for a better understanding of human immune systems. Until recently, this knowledge was gleaned by studying pampered, genetically similar lab animals, which don't reflect a real-world scenario.
Twinkle, twinkle, little spot: Are you a real world or not? Pinning down the elusive nature of Fomalhaut b, a faint speck of light discerned within the glare of a nearby star, has proved to be far from child's play. At stake are bragging rights to the first optical image of an exoplanet, and one that is close enough to be studied in detail. But since Fomalhaut b was first reported in 2008, its identity has been the subject of intense debate. The latest round of Hubble Space Telescope observations, that began on May 27, could help to resolve the controversy.
HBO presents 'No Strings Attached' on June 5 at 9 pm. Natalie Portman and Ashton Kutcher play life-long friends Emma and Adam who almost ruin everything by having sex one morning. 
Mysore has several identities, including brand names prefixed with Mysore. Take Mysore silk, Mysore rasabale, Mysore peta, Mysore pak, for instance. Mysore has been known for all these, but more importantly, for its royalty. The Wodeyar governance was so highly appreciated that a leader of Gandhi's stature called Mysore 'Rama Rajya', the ideal state. Mysore ruler Nalwadi Krishnaraja Wodeyar was given the title 'Raja Rishi'.
After giving Mallika Sherawat her hit item number Mayya Mayya in Guru and choreographing Vivek Oberoi in Yuva, dance master Brinda is teaming up with the duo once again for their next film Kismat Luv Paisa Dilli. 
The students of different departments at HKBK College of Engineering got a chance to display the best of their skills recently in a project exhibition, where they exhibited their knowledge of advanced technology and applied their talents in the best way possible. 
The programme, which lasted for two days, was attended by a few industrialists and talented businessmen, who could effectively help inspire and educate the students on various tricks of the trade. 
About 160 odd students of the MBA batch of Presidency College graduated in style in a colourful event held at a hotel in the City recently. Wearing blue blazers, red ties and well-polished shoes, the girls and boys looked stunning in their outfits.
