Aicon Gallery http://www.aicongallery.com/ Aicon Gallery News en-us http://blogs.law.harvard.edu/tech/rss exhibit-E.com Signed MF Husain Serigraphs from the Herwitz Collection http://www.aicongallery.com/exhibitions/2009_signed-mf-husain-serigraphs-from-the-herwitz-collection/ http://www.aicongallery.com/exhibitions/2009_signed-mf-husain-serigraphs-from-the-herwitz-collection/
M F Husain
BLANKETING (Mother Teresa Series)
Limited edition serigraph (edition of 300)
individual serigraph $2,000; set of 3 $5,000
17 x 22 in.

2009
Aicon Gallery

Aicon Gallery is offering a unique opportunity to collect hand signed serigraphs from the Herwitz collection. For details please contact newyork@aicongallery.com. ]]>
Fri, 26 Sep 2014 12:31:43 EST
Arrivals & Departures: The Story of Indian Modern Art II - Palo Alto 2014 at Bryant Street Gallery 532 Bryant St. Palo Alto, CA 94301 October 16-18, 2014 http://www.aicongallery.com/exhibitions/2014-10-16_arrivals-and-departures-the-story-of-indian-modern-art-ii/ http://www.aicongallery.com/exhibitions/2014-10-16_arrivals-and-departures-the-story-of-indian-modern-art-ii/
G.R. Iranna
THE ROOTS
2013
Acrylic on canvas
52 x 66 in.

SOLD



October 16 - 18, 2014
Aicon Gallery

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Thu, 16 Oct 2014 16:16:25 EST
F. N. Souza | Works on Paper - From the Estate of Francis Newton Souza http://www.aicongallery.com/exhibitions/2014-09-12_f-n-souza-works-on-paper/ http://www.aicongallery.com/exhibitions/2014-09-12_f-n-souza-works-on-paper/
F. N. Souza
UNTITLED (SEATED MALE NUDE)
1954
Graphite on paper
15 x 8 in.

September 12 - October 18, 2014
Aicon Gallery

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Thu, 16 Oct 2014 16:21:33 EST
Shifting the Paradigm - Masterworks of Indian Painting - Before and After Independence: Featuring Nandalal Bose, Vasudeo Gaitonde, M. F. Husain, Ram Kumar, Jamini Roy, Jehangir Sabavala, and F. N. Souza http://www.aicongallery.com/exhibitions/2014-09-12_shifting-the-paradigm/ http://www.aicongallery.com/exhibitions/2014-09-12_shifting-the-paradigm/
Vasudeo Gaitonde
UNTITLED (BLUE)
1963
Oil on canvas
50 x 40 in.

September 12 - October 18, 2014
Aicon Gallery

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Thu, 16 Oct 2014 16:23:20 EST
Rati Chakravyuh | A Film by Ashish Avikunthak - Daily Screenings | Oct. 23rd through Nov. 1st at 1pm | 3pm | 5pm (Closed Sunday) http://www.aicongallery.com/exhibitions/2014-10-22_rati-chakravyuh-a-film-by-ashish-avikunthak/ http://www.aicongallery.com/exhibitions/2014-10-22_rati-chakravyuh-a-film-by-ashish-avikunthak/
Ashish Avikunthak
Production still from Rati Chakravyuh
2013
105 min.

October 22 - November 1, 2014
Aicon Gallery

PRESS RELEASE

Rati Chakravyuh
A film by Ashish Avikunthak

October 22 – November 1, 2014

Press Preview & Private Screening: Wednesday, October 22, 7:00pm
Featuring an Artist’s Discussion and Q&A

Daily Screenings | Oct. 23rd though Nov. 1st at 1pm | 3pm | 5pm (Closed Sunday)
New York, 35 Great Jones Street

Aicon Gallery is pleased to present Rati Chakravyuh, a new feature-length film by Ashish Avikunthak. The film, comprised of a single 105-minute shot, centers around the continuous conversation of six young newlywed couples and a priestess after a mass wedding. Made entirely in Bengali, Rati Chakravuyh develops a complex and intense narrative through its meditation on an unbroken ever-evolving conversation about the whole of the human condition, questioning beliefs about life, death, love, sex, violence, religion, war, mythology, history and modernity. Rati Chakravyuh’s screening at Aicon Gallery, New York represents the international premier of Avikunthak’s mesmerizing new film, following acclaimed debuts in Kolkata and Mumbai.

Director’s note:
The film is the experience of the inescapable maze created through the dizzying effect of the camera that moves in spirals throughout. In that dizzying spiral, words vanish, faces blur into a stream of light and eyes crave for the darkness of ignorance, of innocent illusions, of dreams where redemption is really possible. The stories are non-existent, they are the same, yet very different; but we must transcend them. How do we do that? Temporality is a painful truth to reckon with. It stretches out in a painstaking fashion, trapping every attempt to radiate out of the circle. It is our pain on that screen and we cannot look away, we cannot wish it away or magically transform it into a dreamscape. There is simply no space for any space. Space collapses into that speck, but floats endlessly unlike that moment which is out of time. The circular motion of the camera creates that spiral maze and makes us aware of the harsh truth – that we must fight a losing battle, only to inevitably lose, die and disappear. The film thwarts all our attempts to hide, to run, and all we can really do is to watch those faces blur in the spiral motions, watch those words become a hazy long stretch of intimately familiar sound, watch everything turn into myself - the emptiness that gave birth to the words. The inspiration for this film came from Leonardo da Vinci’s ‘The Last Supper’. The idea of the final communion among loved ones before an imminent finale was a dramatic conduit for a philosophical exploration of contemporary Indian life.

This is a single shot film. It is bookended with two title cards – the first appearing at the beginning of the film mentions the mass wedding, and another ends the film announcing the mass suicide. In the middle is the single shot of 98 minutes of the conversation among the thirteen individuals. They all sit in a circle in the middle of a brightly lit ancient temple.

They talk about their lives and their times in postcolonial India – violence, love, death, sex, cricket, suicide, life of Gods and Goddesses, religion, political murders, non-violence, cars, and riots. The film is an allegory of being Indian, being human, being alive. It is the last meeting before an impending tragedy to open up the world of living, that will eventually court death. It is a dramatic dialogue of death before suicide.

The camera is on a circular dolly and goes in circles throughout the shot. The continuous single shot is employed to heighten the temporal nature of the film. The circular motion of the camera creates a spiral universe in which the voices float and create a continuous image/soundscape that encompasses the film. The slow spinning of the camera movement in a single shot produces a dizzy vortex - a cinematic whirlpool into which the image, the sound, the actors and the whole film is sucked.

Trailers for the film may be viewed at the following links:

http://vimeo.com/97888465
http://vimeo.com/97719308
http://vimeo.com/98841932

Ashish Avikunthak is an experimental filmmaker who has been making films in India since the mid nineties. His films have been shown worldwide in film festivals, galleries and museums. Notable screenings were at the Tate Modern, London, Centre George Pompidou, Paris, Pacific Film Archive, Berkeley, along with London, Locarno, Rotterdam, and Berlin film festivals among other locations. He has had retrospective of his works at Les Inattendus, Lyon (2006), Yale University (2008) and the National Centre for Performing Arts, Mumbai (2008), Festival International Signes de Nuit, Paris (2012), Rice University (2014). He has a PhD in cultural anthropology from Stanford University and has taught at Yale University. He is now an Assistant Professor of Film Media at the Harrington School of Communication & Media, University of Rhode Island. Avikunthak was included as a "Future Greats" artist in 2014 by Art Review magazine.

Please contact Aicon Gallery (Andrew@Aicongallery.com) for more information. ]]>
Fri, 24 Oct 2014 11:21:03 EST