Arts – painting/sculpture/clay modeling, theatre, literature, music etc. – have become interdisciplinary in modern times. Since the early days, fine arts and theatre were hand in glove. But now it seems the boundary line has blurred; it is harder to say when fine art ends and theatre begins.
And to tell the truth, Aarohan-Gurukul is the epitome of interdisciplinary arts. It has not only satiated our palate with live performances but also organized fine art workshops.Abako Nepal (Nepal Henceforth) – an event on the eve of the CA (Constituent Assembly) elections – stands at the top. From the balcony of the Dharahara, Kiran Manandhar painted a canvas that is considered to be the longest by a single artist in a day. In another event, Gurukul gathered prominent as well as less known artists, asked them to do paintings that would be sold on the spot for one thousand Rupees only.
There are very few art critics in Nepal, and most of the time we have to depend on the critique of people without in-depth knowledge. In such situations, the book by Mukesh Malla, who himself is a prominent painter, is a laudable endeavor.
The book is divided into three different sections: evolution of post modern art, post-modern art workshops, and profiles of post-modern artists. In all of 17 chapters, Malla covers the birth of the movement in Nepal, giving references to World Art where necessary, big events when for the first time artists congregated to work on and exhibit their novel concepts. The author also critiques and describes artworks, and writes on the prototypes of post-modern artists, and the trends that have flourished in the country.
Malla also traces the history of modernism and post-modernism in Nepal. The former is brief and the latter is descriptive. He highlights on what Nepali scholars say on post-modernism when, for the first time, the arts – theatre, literature, music, fine art – carried streaks of post-modern elements.
What is post-modern art, or say, how a work of art does becomes post-modern? Malla writes that post-modern art is a medium of interaction, a performance of fine art, and installation of concepts within bigger frames, and away from the limitations of canvas, stone/wood or clay mound.
Today, creative concepts do not exist alone; works of artists become complete only when audiences participate. Malla, while writing on the artistic movements in Nepal in all genres of expressions, goes interdisciplinary. He writes about dramas where audiences themselves are actors, literature wherein readers are free to compose their own stories, and fine art finds completion only when viewers participate within the mainframes.
Art is not just for art’s sake anymore: It is for humanity, it is for life. Nepali artists have over the years worked on the ideas that either reflects our social life and societal behavior, or makes us aware of significant things.
The painter author, for instance, writes about an installation art event organized by the Cancer Institute to spread awareness of the hazards of smoking. Likewise, performance artworks to awaken the ruler and the ruled, about the bloodletting in the country, the quest for democracy were other advocacy initiatives. Actually, art does not stand in a void. Almost all such performance and installation art scenes that made big headlines in the past are well recorded in the book, along with relevant photos.
Malla writes, the “History of modern Nepali art has not still been written. However, it is necessary to evaluate immediately the novel trends evolving in Nepali Art.” And he stands true to his words by writing about the new approach of Sujan Chitrakar’s meditationeself.com and Sutra, the art house. He explains what are the concepts and execution of post-modern art. He lists: installation, video works, music/drama/ poetry, happenings, interactive art, earthen work, audio projection, performance art, site-specific works, situational art, etc.
What does post-modern art do to people and society? He says, “Raise contemporary issues; include people in artworks, and express solidarity with peace and democracy...”
Asmina Ranjit, Gopal Kalapremi, Manish Lal Shrestha, Sujan Chitrakar are some of the artists whose works feature extensively in “Uttaradhunik.”
Actually, Uttaradhunik Nepali Kalako Abhilekhan is an interesting reading for both art students and art lovers. You may have missed to attend Asmina’s “Happening Art” (2004) or “When the Entire Country is Weeping” (2003), but this book shows what happened in those two post-modern art exhibitions that surprised one and all.
Related story
Third edition of 'Himalayan Art Festival' concludes
