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GenNext VIII

GenNext VIII

A Gamut of Visual Experience

“What is creation? It is making of new life. If what is made is not new, it is imitation containing no element of novelty to stimulate attention. If it is not fully alive, it can transmit only a feeble anaemic message to others. For, the thrill of the artist’s creative act must of necessity be transmitted to his audience as a sort of reflection from the image he has created.” -   Pran Nath Mago

GenNext inspired by the novelty of imagination of young creative minds has become synonymous to that platform where the creator gets connected directly with his/her viewer and invites for the dialogue process to set not just an aesthetic discourse, but also a political, social and cultural space for intellectual communication and sharing. GenNext VIII has been designed to gear up with the spirit of contemporary art by a brigade of fifteen young dynamic artists from different corners of India and neighbouring countries like Bangladesh, out of a thousand of entrants who crave to be a part of this unique and most-coveted platform of new generation art.

After seven successful editions of GenNext as the annual event of Aakriti Art Gallery that was always celebrated in Kolkata in the month of October, now moves out of the City of Joy to the National Capital of the country, New Delhi in its all-new premises of Aakriti Art Gallery at Lado Sarai. This year, GenNext is stirred with a much bigger innovative spirit, novel spree and set to go gaga over new motifs, minimal trends, and experimental ideas with a touch of classical nuances in different art forms that is quite contemporary in its caliber and execution, thought and approach. This year I introduce to you 15 artists from India, Bangladesh and SriLanka namely Arpita Dey, Sandeep Suneriaya, Ishita Chakraborty, Sonal Varshneya, Sarban Chowdhury, Saptarshi Das, Mansi Trivedi, Tauhin Hasan, Siraj Saxena, Krupa Makhija, N.Thakar, S.Malsha Lakshmsenadheera, Sayak Mitra, Ankur Khare and Ravi Prakash.

Breaking brackets and binaries, these young competent artists have explored multiple layers of visula making that will add a new dimension to the world of visual arts. As GenNext significantly carries the emblematical vision to identify, select, showcase and promote young budding artists year after year who otherwise get ignored in the host of eminent and established artists, it is the platter where an artist can grow and make his/her own niche, get the glitter of popularity and the critical assessment for further refinement of artistic language and development of worldly perception.

The other unique proposition of GenNext VIII is the Art Residency program that will be held together by Bachhawat Foundation and KHOJ- Kolkata Artists’Association where two artists will be selected from the current edition of GenNext and will be given one of the best opportunities in the country to practice art under this residency program. GenNext has always taught us that there is no turning back or giving up under any circumstance, even in all odds and most adverse situations. We’ve promised to excel, we’ve kept it intact ever and always and now we look forward to bring about a change…

Making a difference has already been established in our journey of GenNext in all these years, but now we know that time has come that we entirely breed a new denomination in the field of visual arts that marks a nation’s pride in the global vintage… and let’s round it up, GenNext is all about it!

- Vikram Bachhawat

GENNEXT VIII –

Re-defining Contemporary Art

Contemporary – the word retains its relevance through every era in history. The spatial-temporal context of the subjects being dealt with, distinguishes contemporary art from the art of by-gone eras. Though it gives us an impression that the art of the present context is being termed as Contemporary Art – well it could be the other name for Modern Art, yet ‘contemporary’ in art can always be something present in any conjuncture of history as per its own application and pertinence. But when we are talking of the present times, we are in a way attempting to come to a specific approach and understanding of Contemporary Art. In doing so what we land up to is that the concept contemporary is not purely geographical, doesn’t simply mean mechanization, it is not fashion, not even materialism and not a theory of social reconstruction. It cannot even circumscribe what is exists in the present. Contemporary in art, literature or other creative endeavours is therefore, a teasing proposition and provokes a gamut of varied reactions.

The eighth edition of GenNext welcomes you all to explore and interact with the variable aspects of contemporary art being presented by a group of fifteen young creative minds. They are stunningly proactive to set a mental environment through the discourse in their artworks, both in terms of content and execution. The current edition of GenNext is even more significant because of its collaboration with the Bachhawat Foundation and KHOJ- Kolkata which will select two GenNext artists for a residency program after the conclusion of the GenNext exhibition.

GenNext artists this year have particularly devised contemporary art in quite an experimental way, incorporating innovations in conventions. Fabric, thread and pipe stitched on canvas on one hand make Arpita Dey’s artwork invoke the restlessness of time, more so a rebel within the patch of blue female attire on the central top of the canvas, on the other hand the installation with wire mesh “Let’s play anything except hide & seek” creates the pun for endangered existence on the whole. Ishita Chakraborty is bold enough to use gross elements of Eros and Thanatos in her non-conventional paintings titled “Enslaved” and “Heart-store” bearing strong installation attributes. The minimal use of colour, contours and playing around with white subtly to create space for thought has been extremely done well by this young painter. Ankur Khare is also attracted by fabric and makes an abundant use of the material along with leather to express “Mixed Emotions” in his work of art.

A little conventional though in the process of treatment, Krupa Makhija expresses turmoil and tragedy of time in mixed media on canvas. Mansi Trivedi works in mixed media on plywood and on rice paper to bring out the sense of loss and reminiscence.  Neha Thakar takes us deep into the environmental cause through her archival prints “Drawing on Ice” and Sonal Varshneya explores another aspect of nature – “Shakti” and the craving for that eternal power in her work “Shakti-Lalsa”, in colograph. Touhin Hasan in his series “Mustafa’s dream and conflict” also attempts to deliver personal anecdote stitched within the framework of universal realities of desire and delusion in an apt and contemporary pattern through the use of third generation of computer graphics.

Ravi Prakash’s sculpture in metal wire and wood “Discipline paves way to freedom” on one hand bears installation-quality and on the other dissipates the message of freedom through harmony on a universal basis. S Malsa Lakshmi Sanadheera uses pencil, acrylic and glassmaker on canvas with thick shades of colour and mythological content, where as Sayak Mitra makes the similar kind of treatment in acrylic on canvas keeping more relevance with the contemporaneity of the present context. Ceramic sculpture is also a new addition to this edition of GenNext and Sarban Chowdhury creates in sharp contrast of thematic disposition – the two works, “Frolic” and “Overdose”. “An Art of the Tattered Time” in Indian fabric is what Siraj Saxena has narrated - the critical crisis of a creative persona vis-à-vis the agony of contemporary condition and history. Making it more direct a satire, Saptarshi Das has created “Born in WASTE-Bengal (Self Portrait) with discarded plastic objects on plywood reminding us of T.S. Eliot’s “The Waste Land” quite apt of the present socio-political situation of the state to which Saptarshi belongs.  A much rhythmic pangs of the plight can be deciphered in Sandeep Suneriya’s Etching, “My Journey” where agony and ecstasy get merged into each other probably eliciting the fundamental truth about life which is a combination of happiness and sorrows.

The exemplary exhibition of Aakriti Art Gallery, GenNext VIII is going to be a pulsating experience for the global viewers in the national capital of the country bringing together a wide range of what we all love to define as Contemporary Art, yet bearing the true essence of its plural nature - multiplicity of experimentation and divergence of thoughts and innovations. Redefining new generation art has been the primary focus of the GenNext exhibitions in all these years and it continues with its promise to maintain the unparallel endeavour to support young artists with a platform to experiment and perform in art with optimum facilities also in the years to come.

Sarmistha Maiti,Kolkata. 2014

The World is Only a Fable

“…the world as such is only a fable. A fable is something which is told, having no existence outside the tale. The world is something which is told, an event that is narrated; it is therefore an interpretation. Religion, art, science, history, are so many diverse interpretations of the world, or rather, so many variants of the fable”.

Twilight of the Idols. Friedrich Nietzsche.

GenNext which was conceived in 2006 to showcase young talents enters its eighth edition this October. Aakriti Art Gallery has always reached out to unexplored territories in contemporary art and traversed geographical boundaries. It has also taken enormous care through exhibitions like ‘Gen Next’, to put contemporary Indian and international art before the public in a balanced and coherent manner. These choices are concerned with the questioning aesthetic closure suggested by the now much finalities of natural and illusionistic space which have made up the edifice of modernism. Their subjects act out a drama of residual meaning. It should also be mentioned here that Aakriti has tied up with Khoj Kolkata to showcase and advance such practices and methods and has initiated a residency.

For many artists today, gesture is no longer embedded in the same pictorial and referential structures from which it drew its original authority. Rather than being the basis for a dynamic compositional system or a clearly labeled marker of the psyche, it has become increasingly autonomous. Broadly, the negotiated space of national/international, in a subliminal manner brought two kinds of subject positions in the Indian art world. First the confrontational and the heroic- outsider to the mainstream and its institutions who upheld a subversive revolutionary identity, and the second that verge on the solipsistic guise, whose reclusive symptoms manifest often through a disquieting expressionism by using the premises of abstractionist formalism. The ways in which the world has been (and is being) put under description has tempted us to mis-take such pragmatic heuristic for reality. The critique of this blindness has been done in order to keep the fictional – and future alive, to think the imaginaries of democracies and emancipation to come; to keep the excess in the frame. What serious man fears- the invasion of the fortress of essence by the contingent, the protean, and the unpredictable is what rhetorical man celebrates and incarnates.

There is no more reality that meets the eye, and then listens to what is produced in addition to exchange identifiable in the dialogue to keep the record of these invisible events. This exhibition shall keep the record of such events, self-effacing, but altogether real, a breaking or a wounding on the subject of breaking and wounding inscribed into the very body of this faithfully produced space. That it consists of nothing independent of us and that we have to be loyal to, nothing we have to feel guilty about, no facts we have to find , no truths we have to respect, no problems we have to solve, no project we have to complete. It is clear that the past doesn’t exist ‘historically’ outside of historians’ textual , constructive appropriations, so that, being made by them , it has no independence to resist their interpretative will, not at least at the level of meaning. However irreducible, stubborn, painful, comic or tragic the past may have been, it only reaches us through fictional devices which invest it with a range of highly selective and hierarchical readings which are always subservient to various powers and interests(-Tony Bennet, Outside Literature, London, Routledge, 1990, pg 54)). Consequently, the past as a history always had been and always will be necessarily configured, troped, emplotted, read and ideologised to suit ourselves.

The images here refuse to disavow their own separation in a narrative splurge that reminds us that the “purity of narrative is more manifest than that of discourse” (-Gerard Genette). They create their own untimely rhythm which the practitioner records, in what we feel to be a coolly objective way. In the end it makes us seek his work out as if we needed it, and makes us cherish it, long after more documentary or photographic evidence of “our common suffering” has become a sad blur. Something of the same quality is transmitted- an oddness, a disturbing quiet. Whether this desperate humanism, sustained only by the sheer energy of despair, does not fail to recognize at least one major resource which exists, almost visibly, in the very fact of our language. Being would emerge at last through the image. While we some may see these as embodiments of the sublime, of truth, some would see this as search, or a struggle for truth. These are also generous works, for in them that struggle, those victories, those pleasures are made available to us.

New media artists showcased in earlier Gen Next exhibitions have always seen their practice as an attempt to make changes in the perception of the social and cultural future through their interaction with the audience. These new media artists set out to create an artwork that will instigate in the audience perceptions, understandings of their own creative potential. What they desire is a renewal of a visual language, and the return of its object to the richness and range of experience. We are at a crucial point here. The staging of the otherness and alteration that constitutes in these works, for us serve the essential aspects of a fictional universe. These artists were trained to be a painter or a sculptor or a printmaker but do not fear to go into an unchartered territory. Their art speak from the depths of the soul and reaches out to us to a world of infinitely rich theatre of their soul that weave and re- weave a potent spell for all of who dare to share in the drama. Their poise is remarkable, what this eminent group here accomplishes is a discreet, satisfying mélange, each of whom is confident and possesses a sprightly distinctive approach. The accounts and language that the participants offer are satisfying narrative styles and thus become a rare visual experience.

Each of the creative rubrics consider at the start a great career, in order that one moves not necessarily from the simplest to the most complex, and among the perspicacious lovers of the equivalence, in the form of legacy one practitioner leaves behind, between the visible and its nominal inverse. A continuous stream of idea, creativity and image but what concerns here is this absolute proximity, this co-precision, of the field that functions as a ground, and the figure that functions as a form, on a single plane that is viewed in close range proceeded with the somber, the dark, or the indistinct. A recurrent issue in the new media most often is the plight of the individual in a highly technological world. However, these works are ultimately optimistic although bristling with images of war, aggression, confrontation, displacement,  there is a sense, achieved through ironic focus, that beyond lies something more hopeful but first it is necessary to overturn what we have and create the neutral space from which new things shall grow. A decade back artists began to combine image and text and over the last decade, these works have increased in subtlety and in the interplay of meanings.

The artists expressed such human concerns or deological commitment but at the same time unwittingly make a political archive of their romantic legacy only in the process of their involvement in actual political struggles. Today’s practitioner  consciously lived in his times and wished to engage with events rather than withdrawn from them, the times fraught with new as well as abiding traumas introducing a tantalizingly cerebral artist whose ideas hover just on the brink of obscurity. One traces humankind’s progress towards private property and avarice into a vast and bricoleur of images as if the enigmatic mind of Jorge Louis Borges had been fused with the majestic spirit of Diderot that speaks to contemporary practices continuing fascination with isolation and depersonalization of the autographic gesture that maintain a certain austerity, these paintings celebrate their artifice, and sweeping brushstrokes seem genuinely felt, warm and intimate. Today the approach is much more visual in its address than being polemical. His language shifts from spectacle to presence, a psychological space where there is absence in spite of presence; and that presence is the sole key to a state in which ratiocination of any kind is suspended- the inadequacy of the faculties is accepted and the viewer advances humbly towards faith. Some regard their work as independent markers in the world and the term ‘poetic’ which has frequently been applied to their work is received with less than rapture. This however, acknowledges the metaphorical content of their work, especially recent sculpture where the expression of ideas has shifted from the surface into its heart. In new media installations it is clear that, in itself, this is no more robust an enterprise than the thread of open dialogue which is also destined to remain unresolved with these works. It demonstrates with almost poetic vigour, just how fine and fragile these threads are.

The exhibition’s real importance is not only to challenge representation as ‘formidable tool of domination’ but to contribute to a redefinition of realism, abstraction and cultural representation. The exhibition also reveals that one of the important problems facing non-centrist (non-western) international culture in all parts of the world is the need, to come to terms with essentialist thinking in order to create new concepts of true open-ended fields of cultural construction.

Nanak Ganguly

Recollections from 2013 in

Aakriti Art Gallery

The grace and grandeur of commercial art market was afflicated with global recession for the past few years. As a result, many private art galleries were forced to cease their activities. In the midst of such depressing atmosphere a few private art galleries, amongst which Aakriti Art Gallery is still travelling with all its splendour.

During last one year Aakriti has performed some commendable works, one of which is to keep the spirit of modern Indian art alive. In the development of modern Indian art Bengal School initiated by Abanindranath Tagore played a pivotal role. But unfortunately the name of many artists of this genre is mostly unremembered nowadays. Aakriti lays emphasis to focus the name of those artists alongside their art works through online and gallery exhibition. Aakriti hopes that this endeavour would quench the thirst of many inquisitive art lovers.

It is well known that India is a land of sculpture with long glorious history. The brilliant tradition flows successively to the modern age. But it is a matter of pity that contemporary sculptors face myriad problem for casting their sculptures. Casting is a method of shaping metal by melting and pouring it into a mould, and thereby clay or plaster of paris sculptures are transformed into bronze, alluminium or any kind of hard material. Though in many countries it has become a large modern industry, and is done in big plants called foundries. But regrettably in India, and particularly in West Bengal castings are being done in an unorganized and uncertain manner, and as such sculptors are facing tremendous problems. However, at this juncture Aakriti has come forward establishing a permanent casting foundry at Bachhawat foundation estate, located at Madhupur, P.O. Badu of 24 Parganas (North). Bachhawat Foundation is the brain child of Mr. Manik Bhachhawat and family, founded in 15th of December 2013. It’s a huge composite area, in one corner of which foundry has been installed under a permanent concrete structure. Aakriti promises to provide all round casting facilities from senior to junior sculptors. In the meantime as a mark of the opening a three days casting workshop was held there successfully.

In apart, non profit-making Bachhawat Foundation had launched a programme in association with The Calcutta Turf Club at Calcutta Race Course on 29th March, 2014, with the active support of Aakriti Art Gallery. It is needless to say that Bachhawat Foundation and Aakriti Art Gallery are synonyms. However, this novel performance was comprised of art workshop and exhibitions, auction and music, which was truly exciting. Furthermore, eight horse race winners were presented bronze sculpture trophy, executed by the eminent sculptors like Shankar Ghosh, Niranjan Pradhan, Tapas Sarkar, Bimal Kundu ,

Pankaj Panwar, Sunil  Kumar Das, Goutam Das and Akhil Chandra Das. In addition, viewers have enjoyed the portrayal of diverse moods and movements of horses in line and colour done by Prokash karmakar, Sunil Das, Aditya Basak, Wasim Kapoor, Samir Aich, Chandra Bhattacharya, Sekhar Roy, Atin Basak, Chatrapati Dutta, Arindam Chatterjee to name a few. Geo Stubbs, Edgar Degas, Toulouse Maqbul Fida Hussain, Nikhil Biswas, Sunil Das are some of the renowned painters who have captured the strength and peerless anatomy of the horses in their paintings. However, no doubt that it is an unprecedented event, in the sense clubbing together to art and aesthetic with the thrilling enthusiasm of horse race.

Aakriti's activities shade with many colours comprised of ‘winter prelude’, ‘tangential traverse’, and one man show of P.R. Narvekar as well as Ramkumar. One of the most senior, celebrated painter Ramkumar’s  pen and ink early abstract  drawings on paper leads to a certain unexplored area of  visual art language. This stimulative show was curated by Prayag Shukla. On the opening day of this exhibition i.e on 1st August 2014 Aakriti also launched their new website  also.

Besides above mentioned programmes Aakriti has organized multidimensional events round the year, and there are a few more in their agenda to be performed in the near future. One of the most significant of that is GEN NEXT which became widely popular across the country and abroad. This programme put a lot of emphasis on promoting young generation artist’s in many ways. It takes place every year in the month of October, as a mark of Aakritis foundation day. This year this prestigious show is going to be held at Aakriti’s newly opened gallery in New Delhi.

Prasanta Daw

A Journey through ‘GenNext’ Exhibitions at

Aakriti Gallery

Gen-Next exhibition is a project of Aakriti Gallery to find and showcase the new direction of the contemporary art by the younger generation of artists below forty of our country. The first Gen-Next show was held in 2006 from October 1 to 15 to celebrate the first anniversary of the gallery formed in 2005. In the introduction to the exhibition Vikram Bachhawat, the director  of the gallery, wrote: ‘The show brings together a mélange of image and expressions that are compelling, engaging and at the same time confrontational in its discourse with its viewers’. Apart from this the seven Gen-Next exhibitions held till 2013 achieved something more. Art is always a reflection of reality and life-experience, tangible and intangible. During the twenty first century the realty has turned to be very enigmatic, so is the life-experience. The contradiction between progress and regression has been so confounding that the structure of the truth has shattered completely. Despite the enormous technological advancement and information boom there has occurred series of devastating incidents like 9/11, Godhra, Abu Ghraib, Iraque, Best Bakery, recent incidents in Croatia, Israel, Palestine and many others. The contradiction baffles the artists. They navigate very scrumptiously between the enlightened tradition and the bewildering reality to find their original form that reflects the flickering light of the reality of the contemporary human condition. The artists of the previous seven Gen-Next exhibitions have created their own form out of this enigmatic reality. The multiple faces and structures of their rebellion help us to identify our own being.

In the first Gen-Next the images created by Debraj Goswamy were poles apart from that of Farhad Hussain. Both resorted to fantasy, but while Debraj was critically sarcastic, Farhad was humorously jubilant, yet both were rebellious in their social criticism. Barun Chowdhury’s spiteful naturalistic delineations were completely different from Ritendra Roy’s geometrical architectural traditional representations. The world of child fantasy in the sculptures of Subrata Biswas was also a kind of benign rebellion though very distant from the expressionist vigor of the sculptures of Debanjan Roy or Akhil Chandra Das. The 27 artists represented in the first Gen-Next are all now important figures in contemporary art scenario.

Gen-Next II held in October 2007 was broader both in vision and expression. Forty artists below forty from different part of the country participated. Vikram Bachhawat in his introduction indicated it as ‘a show where imageries engage viewers to respond to new age visual language’. Creating this ‘new age visual language’ has been the prime feature of the Gen-Next exhibitions. Expressions of Gen-Next II exhibition were diverse in nature emanating both distant echo of indigenous tradition, naturalistic form and expressionist rebelliousness to bring out the hard core reality. The paintings of the woman artists like Anasua Chakraborty, Balaka Bhattacharya, Nabina Gupta, Sumana Ghosh, Rupal Dave, Madhury Khate and Krishna Sardar projected various directions of how a sense of sublime works within the life. Among the sculptors the diversification was much varied. The terracotta of Sujit Kumar Karan and Surajit Samanta, fibres of S. Gopinath of Bangalore, ceramic of Pallab Das reflected various forms of traditional expressions. Tapas Biswas appeared in this show with a new design of structural abstract forms, which by now has placed him as a very important sculptor of the country. Tarun Maity’s wood-works emanated humerous reality. Chandan Bhandary and Chandan Das also brought new direction in form. In painting sobriety of Abdul Salam was in opposite pole of the expressionist scream of Apu Dasgupta. The abstracted reality of Debashis Barui was poles apart from Avijit Dutta or Ankur Khare of New Delhi. Sourav Jana, Somnath Adhikari, Somit Gupta, Shyamal Roy Chowdhury, Sandip Daptari, Rishav Gandhar Narzari, Mithun Dasgupta, Jayanta Kumar Paul and Dipak Kundu created forms out of diverse experiences. Every one could surpass the conventional trends.

Gen-Next III held in 2008 was international in character featuring forty artists, out of which eleven was from foreign countries. According to curatorial statement ‘Gen-NextIII encapsulates a panoramic vision to build up and bring together a global generation who will be leaders next to give novel direction to the art world’. Out of forty there were eleven women artists, seven from India and four from abroad. Photography and video was included in this show. There were eight sculptors. 3.46 min video of Suman Kabiraj titled ‘Time and Space’ and 3.51 min video by Sian Amoy from USA added new dimension to the show through subtle handling of audio-visual expression. Apart from USA there were artists from Pakistan, Bangladesh, Jamaika, France, Austria, Brazil, Canada, Poland and Italy. The show revealed that the vision of young artists has changed substantially. Formal experimentations of the third Gen-Next artists were exciting.

Gen-Next IV held in 2009 was also international in character. Among thirty-four participants, apart from India, there were artists from Pakistan, South Korea, Hungary and USA. This exhibition also showed a 2.5 min video by the woman artist Jayashri Abhichandrani from Brooklin, USA, who made the video on the music and performance of Mohammed Fayyaz from Pakistan, who sought asylum in the USA on grounds of sexual orientation. The photographic C-print of a sculptural installation by Huma Mulji from Pakistan highlighted ‘the embedded irony’ of living in a third world country with extensive tradition. Within such post-modern attitude the exhibition also showcased a unique painting by Soma Das featuring forms of Neo-Indian school. Besides this there was an expression of opposite pole by another artist, Priyanka Lahiri. The painting titled ‘Horror’ was a symbolic manifestation of world wide terror. There were few examples to show how the works of young artists traverse through tradition also.

Gen-Next V held in 2010 showcased eightyone works by thirtytwo artists from India and abroad. There were artists from Pakistan, U.K., Croatia, China, France, Italy and Lithuania. Traversing beyond the conventional form was the prime feature of the expressions of the artists. Vinita Dasgupta titled one of her digital print and acrylic on canvas ‘Ab Goli Kha’ meaning ‘now you eat bullets’. The painting showed scattered bullets on one side of the picture space, on the other side there were a few doves, the symbol of peace. The connotation of the contradiction between violence and non-violence, war and peace was very clear. Buddhadeb Mukherjee’s linear works titled ‘Byronic Hero’ and ‘Claustrophobia 2’ were special kind of abstractions indicating intrinsic violence. Apart from serious practice of ‘alternative art’ in conventional form also there was perceptible change in the works of young artists, both in use of medium and construction of images.

After a gap of one year Gen-Next VI was held in 2012. Sixteen artists participated from different parts of the country and one from Italy. Kundan Mondal worked in new media. His work titled ‘Hand-Sum’ was conglomeration of fifty small delineations of the form of hand done in gesso, marble dust, Lazer etching,  water colour, hand made sticker on glass pasted wood. He turned the icons into symbol of greed. Anup Mondal, Sushanta Kumar Maharana and Rajesh Kumar Ranjan worked in sculpture with new approach towards form. Nihal Faizal from Cochin worked in photography, Kinkar Saha in print media. Shubhadeep Bhattacharya and Dharitri Boro worked in unconventional new media. Sumantra Mukherjee, Jayeti Bhattacharya, Kaushik Saha, Prem Kumar Singh, Rajarshi Sengupta and Sudipta Das worked in painting. Francesca Ramello from Italy worked on digital print mounting on prexiglass, transforming naturalist form into surreal fantasy.

Fantasy of multifarious style was the features of the works of nine artists represented in the seventh edition of Gen-Next held in 2013. Only one artist Leah-Nicole Torbay was from abroad. The other eight Indian artists were Jayeeta Mukherjee, Jayeti Bhattacharya, Jaydeep Bhattacharjee, Prashanta Ghosh, Soma Das, Subhamay Dutta, Supriya Polley and Surajit Sarkar. Surajit Sarkar’s sculptures in glass were unique experimentation in form. Soma Das’s ‘Bongaon Local’ in guache on Nepali paper was an enlightened example of the study in the style of neo-Indian school. The subject is very much realistic. It shows the rush of the common people in local suburban train. But the form is combination of classical and folk. The experimentation is praiseworthy.  Jaydeep Bhattacharjee’s ‘Creator II’ turned mythical into modernist.

Fantasy of multifarious style was the features of the works of nine artists represented in the seventh edition of Gen-Next held in 2013. Only one artist Leah-Nicole Torbay was from abroad. The other eight Indian artists were Jayeeta Mukherjee, Jayeti Bhattacharya, Jaydeep Bhattacharjee, Prashanta Ghosh, Soma Das, Subhamay Dutta, Supriya Polley and Surajit Sarkar. Surajit Sarkar’s sculptures in glass were unique experimentation in form. Soma Das’s ‘Bongaon Local’ in guache on Nepali paper was an enlightened example of the study in the style of neo-Indian school. The subject is very much realistic. It shows the rush of the common people in local suburban train. But the form is combination of classical and folk. The experimentation is praiseworthy.  Jaydeep Bhattacharjee’s ‘Creator II’ turned mythical into modernist.

The seven editions of ‘Gen Next’ presented during the span of eight years have posited the inner strain within the contemporary life, also the struggle of the artists to find its suitable form through assimilation of traditional, modern and post-modern. Most of the artists represented in different phases of ‘Gen Next’ have been established as important practitioners in contemporary art. ‘Gen Next’ is now an important platform for the upcoming artists.

Mrinal Ghosh

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