This post has its beginnings on a hot summer afternoon in Mumbai, when I reluctantly accompanied a friend who was visiting the city to Palladium Mall in the Lower Parel. I’m not particularly fond of malls and do my best to avoid visit them; the visit to Palladium Mall was probably my second or third. If not for the fact that this was a dear and very close friend, I would not have agreed to visit the mall.
As my friend explored the various the various stores spread over four floors of Palladium Mall — Mumbai’s “first luxury and premium retail…destination” — I dutifully followed her around. At one of the stores in the uppermost level, as she made some purchases and paid for them, I decided to wait outside the store and look around.
As I leaned over the banisters into the atrium, beautiful floor patterns created from different types of polished stone looked back at me.
I love experiences that challenge me, make me think and occasionally shake me up a bit — not too much, mind you, just a little. Be it a book, travel, a music performance, food… the memories that have stayed with me are the ones that offered something extra by way of perception. The exhibition on “Mutable: Ceramic and Clay Art in India since 1947“ at the Piramal Museum of Art in Mumbai was one such experience. Curated by Sindhura D.M. and Annapurna Garimella, Mutable showcases 70 years of ceramic and clay art objectssourced from artists, artisans, institutions and private collectors from across India.
I wasn’t aware of this exhibition till photos of its preview night on October 13, 2017, exploded on all my social media timelines. Friends who knew of my interest in all things art tagged me and I went dizzy just keeping up. In the days that followed, tantalising articles and write-ups in newspapers followed, tempting me to drop everything and visit the exhibition, but as it happened it took me 10 days before I could actually do so.
It was my first visit to the Piramal Museum of Art and when I walked in on that October afternoon, I didn’t know where to look first — the large open exhibition space or the exhibits. Exhibition spaces fascinate me in how they are designed to interact with the exhibits within and also how their very design enhances or limits viewer experience. In this case the large open gallery, a viewing gallery on the first floor, a domed roof and the exhibits promised a great experience.
My experience of and participation in the annual Kala Ghoda Arts Festival (KGAF) this year, which was held from 3rd to 12th February, was limited, for I was travelling. This was the first time that I missed the opening day of KGAF, missed seeing the stalls open, missed seeing the installations on the first day, missed bumping into people I always meet at the KGAF, missed attending other events…
It felt strange and kind of weird to miss out on what has become an annual tradition for me. So I did the next best thing: the day after I returned to Mumbai, I headed to Rampart Row in the Kala Ghoda area, where the visual art installations are displayed. Like in previous years, I went in the morning, before the place officially opened and before the place got crowded. Since I wasn’t following the #htKGAF hashtag on social media, I had no idea what the installations were like. So it was almost like seeing them on the first day. Almost.
As always I began with the Kala Ghoda installation — the black horse that is the centrepiece of the KGAF.
The Himalayan Art Gallery at the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) reopened earlier this year after a period of extensive renovation and restoration. For some reason, I had never entered the gallery in its previous avatar and the re-opening and ensuing write-ups in the newspapers gave me the perfect chance to remedy that.
One rainy afternoon in August this year saw me at the Himalayan Gallery, which has a collection of prayer wheels, a Buddhist shrine, sculptures, jewellery, tangkhas and more, displayed there. The gallery is bright and colourful and the soft Tibetan music played in the gallery transported me to another time and place.
Among all the exhibits on display, what caught my eye was a rectangular wooden plaque, which at first glance seemed to be heavily carved. A second, and closer, glance revealed that not only was the wooden plaque intricately carved, it was studded with gems of all shapes and sizes. The information plaque read: Chintamani Lokeshvara.
Over 500 events were organised during this iconic annual festival in the following categories: Children, Children’s Literature, Cinema, Dance, Food, Heritage Walks, Literature, Music, Stand-Up Comedy, Street and Stalls, Theatre, Urban Design and Architecture, and Visual Arts. While I wanted to attend some of the events in the Workshops and Heritage Walk sections, I couldn’t. I could only manage to view the installations at different venues — Rampart Row, CSMVS Museum Grounds and Cross Maidan.
I visited the KGAF 2016 on three separate days. The first was on the evening of the opening day itself. When I arrived at Rampart Row, it was to the familiar sight of college goers with selfie sticks, ‘serious’ photographers with even more ‘serious’ camera gear, families looking forward to an evening together, wailing toddlers… all queuing up impatiently for the security check. Once in, my eyes automatically sought out the installation of the “Kala Ghoda” or the black horse that the festival derives its name from. This installation changes every year and the 2016 version was a visual stunner. Fashioned like a giant chess piece, it was strategically placed in front of a horse-shaped cut out.
The grand and Gothic-inspired building of the Chhatrapati Shivaji Terminus in Mumbai is awe-inspiring at any time of the day. But when this UNESCO-listed world heritage site and the headquarters of Central Railway is lit up, it is simply stunning. Do click on the photograph below to see the details.
I came across the CST building, all lip up, a couple of Saturdays ago. It was around 7.30 pm and I was in a cab, homeward bound when suddenly CST appeared glowing like a jewel. I was lucky to get the red signal, which meant that I had time for a couple of quick photographs with my mobile phone, before the traffic surged ahead.
While I love to see monuments lit up and showing off their architecture, I really wish the colours are subtler and nicer. I found the pink and blue colours that light up CST quite garish and geared towards grabbing your eyeballs.
What are you think? Did you like the colours of CST? How do like your monuments lit up? Subtle? Eyeball grabbing? Thematic?
Mumbai Lens is a photographic series which, as the name suggests, is Mumbai-centric and is an attempt to capture the various moods of the city through my camera lens. You can read more posts from this series here.