Hybrid culture

The ‘Brand India’ paintings by Tonni, or Anthony Roche, at Samuha (ADA Rangamandira, 109, J C Road, opposite Ravindra Kalakshetra, August 8 to 20) conjure a disquietingly alluring spectacle of the composite urban youth culture in which popular western images mix with and layer traditional indigenous ones. Whereas most artists critiquing present reality use its visual-topical elements but stand outside, Tonni embraces its imagery whole-heartedly as a participant in order to from within speak about its deceptiveness, superficiality, perils and hidden agendas.In tune with the freshness of the phenomenon being widely accepted and identified with, he evokes the joyous and somewhat naïve, uncritical enthusiasm of young people for globalising fashion, fast food and imported brands, icons and notions. His aesthetic language relies on comic book, design and advertising styles which become inherently as well as loosely impregnated by qualities of the classical Indian stroke and decorative motifs. Thus, although one may associate these canvases with Pop Art, contrary to its seriousness, Tonni’s works are full of playful energy, mischievous humour and pun-loving subversive-ness. The main character and admitted self-portrait, Mickey Mouse comes here in a number of metamorphoses – as the Statue of Liberty, Superman, Cola-Mouse, L’Oreal’s Merlin Mouse or Mac Fighter. His wide-open, thrilled eyes protrude sideways like in ancient Indian paintings. While kathakali dancers wear superhero costumes and Kishangarh miniature Krishna and Radha have a Star Plus wedding on television, the attractiveness of the brilliant colours and vibrating line simultaneously yield excitement and irony, the dizzily enchanting smoothness of the merger hinting at superficiality, copycat identity, pretended virtues and commercial lies. Throughout, the relishing of this new iconography remains permeated with indications of warning, as corporate logos clarify the witty twists of the images. With an ease equal to comic strip reading, the viewer guesses greed behind the Tatas’ liberalising Indian heritage and the armed belligerence supporting multinational banking even if it dresses in the moods of love and art history. If not all the works are as strong and formally cogent, the whole is bold, original, very engaged and relevant.

An article from Deccan herald dated 17 Aug 2009 (Art Talk by Marta Jakimowicz)

Walking through the life

The second exhibition by a Samuha member (July 22 to August 1) was "Stride" by Prakash L Probably intending to offer an experience of the artist walking through life, accepting its imagery, people, moods and issues as well as more offering personal impressions and comments. Perhaps understandably in a still young painter exposed to a bewildering abundance of reality sights and artistic practices and concepts, the show appeared to be sincere and ambitious but somewhat disjointed in the number of different approaches to form and themes. It loosed as if Prakash wanted to accommodate the maximum of both without concentrating on a closer area that would allow not only consistency but also a convincing power. Instead, he landed close to formalism and a degree of pleasantness. The many large oils on canvas had images collaging, fragmenting and juxtaposing realistically represented elements of reality framed in geometric designs or surrounded by regions of abstraction. Sometimes they read literally about childhood innocence or the environment but sometimes one got lost in their metaphors. Why the titles were carved in three dimensions in stone is not clear except for the fashionable effect. Other works included an installation, flat and plastic images with mirrors, etchings and canvases in a graphic manner using text and its mirror image, also photographs with installation elements. Here too, one suspected a craving for strong impact more that anything else.

Article from Deccan Herald (Art Talk by Marta Jakimowicz)

samuha an artists Initiative at ADA Bangalore

Samuha is an autonomous collective. It is an artist-driven and artist-run initiative. Each artist-member is a time-share holder of the Samuha space. Every member has ownership and rights within their time slot. Samuha is about self-reliance and self-promotion. It is about building a community of individuals who have a common desire – to share and learn from their peers, to explore and educate their public on art and its practices.

We have no hierarchies within the community. Artists, irrespective of their fame, seniority or discipline, share the same rights and powers at Samuha. They work in the same space with equal dignity.Samuha's financial partnerships are limited to its members. However, artist-members can individually source or seek grants for their own work or for aspects of the collective space. Samuha will not attempt to gain a grant or fund as a collective.
Samuha is not about building institutions. It aims to remain a free body and is envisioned as a research art-work. The knowledge gained in the process of envisioning, creating, driving and delivering this work is its true contribution.
We are a free body that will run only for as long as its members own their specific time-slots of 17 days per member. At the end of that period, Samuha will only exist as an experiment in the past and a potential model for others to carry into the future.

Samuha’s core vision is to enable the art-community to use and expand on our work so that more and more such self-sustaining collectives and community-driven programs can happen. We hope that we will create a prototype that can be replicated or morphed to suit various initiatives in the future. We secretly hope that this prototype will be used in variations across the state so that art can permeate into smaller towns too.