A photograph in which the remote and the familiar combine recalls Michel Foucault’s twofold response to a mirror image. Pushpamala N is about 56 and she still likes to play dress up games. Contact me for more information. Pushpamala N is a photo and video performance artist who is the protagonist of her own elaborate compositions, exploring the medium in various ways to document ethnographic prototypes. Editor Paula Richman demonstrates that twentieth-century authors have used retellings of the Ramayana to question caste and gender inequality in provocative ways. ), Many Ramayanas: The diversity of a narrative tradition in South Asia, Berkeley, Los Angeles and Oxford: University of California Press, 1991, p. 46. While some religious texts may remain static over time, the Ramayana epic has been retold in a variety of ways over the centuries and across South Asia. Email bookings@npg.gov.au. That’s quite a feat when you consider that in her new show, Avega-The Passion, Pushpamala plays three very different women. Paper size: 20×24 inches. In the ‘Wilderness’ chapter of the Indian epic Ramayana, Sita, the pinnacle of feminine virtue, yields briefly to temptation and is abducted by Ravana. The photographic story focuses on three feminine figures of Ramayana, one of the two Indian mythological sagas written in Sanskrit between the… En neuf images, la vidéaste et photographe Pushpamala N., née en 1956 à Bangalore, en Inde, nous embarque dans l’épopée du/ Ramayana/. (Yes, we call them salons instead of talks. Pushpamala N. interviews sculptor and scholar Balan Nambiar. She conceives, researches, scripts and designs the mise-en-scenes, working with photographers or photo studios to produce the work where her friends may play supporting roles, or offer their places as locations, which also function as hidden ‘jokes’. Pushpamala is a pioneer among conceptual artists in the country, whose wide-ranging work includes photographic series like Avega (on the Ramayana), Return of the Phantom Lady (Sinful City) and Native Women of South India, in which the artist has directed herself (and others) to produce performative photography on familiar themes. Need to cancel or rejig? Pushpamala seems to read the world like a “complex and stratified, open and enigmatic” literary work that she makes up as she weaves her way through a mysterious urban territory where, right down to the flow of the images, we find the “halting” nature of the City according to Benjamin, like a succession of paintings put together with brushstrokes. Du 1er mars au 20 avril Deuxième exposition personnelle en France, à la galerie Zürcher, de Pushpamala N. (née en 1956), artiste originaire de Bangalore où elle vit. Type C print on metallic paper. These are stories children grow up with, and with little or no values, males tend to think of this as normal and something they re born with. There is a narrative, a set and a protagonist, which is mostly played by the artist herself. We depend on your support to keep creating our programs, exhibitions, publications and building the amazing portrait collection. 1 Michel Foucault and Jay Miskowiec, ‘Of other spaces’, Diacritics, vol. There is a literal, word for word, translation of The Ramayana, The Mahabharata, Bhagavatam, and everything by one Sen, a Bengali. Pushpamala N, sculptures, Venkatappa Art Gallery, Bangalore. Pushpamala seizes this moment and elaborates on it, playing the role of Rama’s demure wife swept away by the demon. Beginning her career as a sculptor, she has transitioned to the medium of photo-performance. Pushpamala N. is a photo and visual artist based in Bangalore, India. Many know the story. 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