#mira dayal

[santmat]

Baba Ji [Baba Somanath] Discovers the Sant Mat Lineage Including the Poet-Saints

"Through the Satsangs of Hazur [Hazur Baba Sawan Singh], Baba Ji was now exposed to an expanded range of bhakti poets of the Sant Mat tradition. The lyrical poetry of several of them was already known to him -- Kabir, Mira Bai and Namdev -- but many were new, such as Guru Nanak and his Successors, Dadu Dayal, Swami Ji Maharaj of Agra, Paltu Sahib, Sehjo Bai, Ravidas and others. Having the poetic temperament himself, he was enchanted with the manner in which they presented the Teachings of the Saints in the form of their banis [hymns]." (new book: The Life of Baba Somanath, Saint and Sage of South India)

My Comments: Right up to the living present, the Masters of traditional Sant Mat have always recommended everyone read the bhakti mystic poetry of the Sants, and even sing their bhajans (hymns). It makes for nice devotional readings for one's daily satsang at home to read a poem or two from one of the Masters, and also helps with meditation practice. On the positive influence of satsang upon our meditations, Shahi Swami once said: "It requires air in the form of satsang to ignite the fire of meditation."

Baba Somanath also has composed many beautiful mystic poems and hymns:

"Ferrying me across the physical, astral and causal realms, Lead me into the region of Parbrahm. In the spiritual pool of Mansarovar, in the region of the Void, Let me bathe in those purifying waters, so that I may become immaculate and whole.

"Giving me the support of the Dhun, the True Shabd, Transport my soul into the Great Void. Drawing me upwards on the stream of Sohang Shabd; reveal the vision of the True Realm, Sat Lok, Where divine strains of the veena fill the air."

[ludivineikewolf]

Ratshdjyfuf why are you doing this to me -_-

L - Labour - the cacophony by Paris Paloma

U - Under the influence by chris brown

D - Disco disco by Benny Dayal

I - Impress your creators by Tub Ring

V - Vagina Police 2.0 by Dream Nails

I - Indian summer by Shuba

N - naked poetry by Skylar

E - entammede jimikki kamal by Vineeth Sreenivasan

I - Ivadunarana malsarangal by Shaan Rahmaan

K - kannazhaka by Anirudh Ravichandran

E - Elle m'a dit by Odelly

W - wolves by Selena Gomez

O - odenda odenda - mash up by Sachin Raj

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F- fu in my head by Cloudy June

NOW I GOTTA TAG 15 PEOPLE ASSFFGHJK

@leotoru @lolziesitsame @kissmetwicekissmedeadly @pieground @bubblexly @candied-boys @corpiote @daimaoryu @venulus-reblogs @drewadoodle @dododrawsstuff @evil-quartett @maladaptivedaydreamsx @chaosangel767 @cryingaboutit1514

Y'all don't gotta respond. This thing is tuff I'm literally dying

tagged by @helliswaiting ahh thank you 🫶

rules: pick a song for every letter of your URL and tag that many people

T-Taroko- August Greenwood

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E-Eyes Sewn Shut- Suicide Silence

Tags: @yanderepuck @wekillandwetake @otomedad @anakinfruit @floydsteeth @tangsweet @vivi-ships @lokis-laugh

[performamagazine]

(Brian O’Doherty, Speaking in Lines, 2016, Installation View, Simone Subal Gallery, Courtesy of the Artist, P! and Simone Subal Gallery. Photo: Phoebe d'Heurle.)

Brian O'Doherty in conversation with Mira Dayal

A recent show at Simone Subal Gallery, Speaking in Lines, presented a group of works by the artist Brian O'Doherty that had not been on view since the 1960s and ‘70s. Their formal elements included sparse variations of arrangements of lines across mirror, canvas, and paper. Together, they represented the artist's ongoing interrogations of language—its legibility and ability to be layered into visual forms—specifically through the Ogham alphabet, a Medieval Irish script that was traditionally used in epigraphs and inscriptions, composed entirely of straight and slanted dashes aligned horizontally. For O'Doherty, using this alphabet is a way of allowing work to "speak" through a visual register. A series of drawings "written" in the language hung across from four vertical mirrored sculptures engraved with words. Two spare paintings spoke to each other across the room on the subject of hair. With their orderly marks across white surfaces, the drawings (and paintings, actually drawn with watercolor marker on unprimed canvas) seemed to represent networks and textures, a vocabulary with contemporary resonance. I found the show provocative, particularly in a time when language seems to misfire repeatedly or fail to deliver its promises. To discuss these works and the larger ideas they evoked, I visited O'Doherty this spring in the home he shares with his wife, the art historian Barbara Novak. We first discussed his career and perspective on the importance of "diversifying" as an artist and writer, eventually finding our way into conversations on his uses of language in performances, writings, sculptures, and installations.

Mira Dayal: I recently organized a writers' panel on those who work in both art criticism and poetry. Several of the writers we invited discussed the use of opacity in poetry and art, by which they meant resisting the spectator's desire to make meaning of the work in order to reveal the spectator's desire to make meaning at all. You wrote in your book Inside the White Cube: The Ideology of the Gallery Space about the Eye being servant of the mind in conceptual art. I was wondering if you think this kind of opacity is desirable.

Brian O'Doherty: That's an unanswerable question. I'm in favor of clarity...I don't think you can put poetry and art writing or prose together. Poetry is a whole different category of difficulty, in that you are refreshing, reusing, and reinventing language in ways that pursue elusive meanings. But in prose, obscurity is no virtue, none whatever. The effort after meaning—which is a natural imminence—is another matter, useful in many ways, including looking at art.

MD: What about in art itself? In your work, there are many layers of meaning—

BOD: There are mute quasi-spoken conventions of art-making, which are entirely another category of utterance, and there you are free to do what you want to do... But you know, these are different categories, different efforts after meaning. Prose is a language designed to communicate, isn't it?

MD: I was interested in your take on that because you have, of course, written widely about art, but I was also reading that you've been relatively resistant to publishing a lot of your writing on your own art. You would send it to curators, friends, or other artists rather than to magazines. So I saw that as a way of—

BOD: Hold on. I've been doing that this very morning. [He gets up and goes to find something, returning with a stack of papers. They are letters he has written to artists, galleries, friends and others over the years. Some are illustrated with drawings, handwritten notes, and other marks. All are beautifully written.] Here are letters collected by a wonderful writer in Dublin, Brenda Moore-McCann, who's written splendidly about my work. She's trying to get them published.

So, effort after meaning—do you want more on that?

MD: Definitely. Or you could talk about your practice as an artist intersecting with your practice as a writer. Do those feed into each other?

BOD: They do and they don't. I've lived my life in terms of defined categories, because when I was doing medicine, I was making art, and I was writing about art, and I was playing football and being young, drinking, chasing girls. I never let these categories get in each other's way. It's good to have this attack on several fronts. If you're making art and you're blocked there, you can write about it. If you're blocked about writing about art, maybe you can go write a novel, right? And then the blockage on the art side clears up, and you go back to that...time will pass and things will open up again, in a natural way.

That's one of the good things about diversity. Diversity is very important in finance and I think the same thing is true about the individual. I would also add that my theme song, which should be set to music, is that people are capable of infinitely more than society allows them, because in every way, one's future, one's originality, one's diversity, one's fulfillment, is blocked, circumscribed, and—through some weakness in human nature—compressed by "outside forces," the gatekeepers and administrators.

And this whole business of identity with respect to what one is allowed to do…I know that very well because I started in medicine, and that's a huge field, are you going to be an obstetrician, an internist, a geriatrician, a psychiatrist, or a public health official? You have to make choices there, but once you're in that group—and Americans are very much in groups—you're not allowed to get out of your groups.

I've noticed also, speaking about medicine—I mentioned earlier the categories of obstetrician, psychiatrist, internist—that when an internal medicine guy is 50, and he says, "I want to do something different. I'm tired of being an internist. I want to become a writer, a poet," that's not allowed. What a reception he would get from the poetry community: "Shut up and go away." That is one of the biggest things I've noticed in life as I've gone on. So the way I've dealt with that is through diversity. Keep it at the same level of quality in everything you do.

MD: I want to return to your discussion of identity in relation to your work as a doctor, because one of your "alter egos" in your writing was a woman.  Now, in a lot of medical practices, people are talking more about the fluidity of gender, and that's also discussed more in contemporary art. Your book of historical fiction, The Crossdresser's Secret, is written from the perspective of "the Chevalier d'Éon, who lived as both man and woman, French spy and European celebrity."  I was wondering how you think about these contemporary discussions of gender fluidity, because it seems like you were a predecessor to them, in some ways.

BOD: When I worked in Washington [for the National Endowment for the Arts], I was initially in charge of the visual arts, and then films, television, radio. I was trying to get various programs funded, mostly successfully...but I learned about the profound hostility in America towards gays and lesbians. And I—I'm not a hero here, I'm just doing my job—made many, many efforts to get gay organizations funded. They pay taxes; they've got two legs and a tail like the rest of us. The prejudice that met that was astounding to me.

Fortunately things are better now. That war is still going on. But there's been a swing in the past five years, positively.

MD: And then negatively in the past few months, at least in the discourse from Washington D.C....

BOD: Yes, Trumpism is trying to defund Planned Parenthood, which does so much for women's health.

MD: In relation to that, the genesis of your most well-known alter ego, Patrick Ireland—under whose name you created work for 36 years—was distaste for the political situation in Northern Ireland at the time. I was wondering if you've had any impulse over the past year to create a similar shift in your identities or in the ways in which you're practicing.

BOD: No, that was my battle. Northern Ireland, occupied by the British army, engaged in various repressions, culminating in the killing of 15 peace marchers in Derry in 1972 by a British parachute regiment. The marchers were unarmed...small in terms of Syria and the rest of the world's atrocities, but that was my impetus for changing my name to something that the British have, for hundreds of years, hated, because you hate whom you oppress, I guess. The impetus was that massacre, for which David Cameron, the former British prime minister, after almost 40 years, apologized.

MD: Do you think language has changed much, especially now in regard to the media? So much of your work has to do with the failure of communication, this gap between the communication of images and the communication of language.

BOD: It's always the same. There are always varieties of oppression, varieties of freedom that prevail socially and for individuals. In terms of language and the uses of language, the corruption of language in authoritarian societies is brilliantly analyzed by George Orwell in Politics and the English Language. Now we have such linguistic perversions as "alternative facts."

In 1967, I boiled down my language to three words, the only ones I use in my work: One, Here, and Now. There's a long conversation here about language.

SEE THE REST OVER AT PERFORMA MAGAZINE...

[odishaphotos]

Fatima Bibi

Fatima Bibi

Indian Women's Judge Judge M.S. Fatima Bewy (born 30 April 1927) was the first female judge appointed by the Supreme Court of India and the first Muslim woman to be appointed to the highest post of the judiciary. He was a member of the National Commission for Human Rights (India) on October 3, 1993, and served as Governor of Tamil Nadu from 1997 to 2001. Early life and education-- Fatima Bewi was born on April 30, 1927 in Pathanamthitta, Travancore, Kerala. Her mother's name is Mira Sahib and her father's name is Khadija Biwi. He was studying at the Catholic School in Pathanamthitta. He holds a bachelor's degree from University College, Trivendam and an LLB from Government Law College, Thiruvananthapuram. Profession-- He began his career as a lawyer on November 14, 1950. He began his professional career in the lower court of Kerala. In 1958, he was appointed as the Deputy Chief Justice of Kerala. He was promoted to judge in 1968. He was appointed Chief Justice Magistrate in 1972, District and Sessions Judge in 1974, a member of the Income Tax Appeals Tribunal in 1980, and a judge in the High Court in 1933. On May 14, 1984, he became a permanent judge of the High Court. He retired from the Supreme Court on April 29, 1989, but was reappointed as a Supreme Court judge on October 6, 1989, and resigned on April 29, 1992. Governor of Tamil Nadu --- He became the Governor of Tamil Nadu on January 25, 1997. Appointing him as the Governor of Kerala, Sukhdev Singh Kang, the Supreme Court of Tamil Nadu and the Jammu and Kashmir High Court, President Shankar Dayal Sharma said that their experience and foresight in the constitution and the law were valuable assets. As governor, he refused the apology of the four perpetrators of the Rajiv Gandhi assassination. The killers applied for a pardon under Section 161 (the Governor's power to pardon).

[sculpture-center]

FEATURED ARTIST: Mira Dayal, Chine-collé (detail), 2017. Hair, Methyl cellulose, paper. 18 x 24. Courtesy the artist.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[gravestoneghost]

Updated artists4ceasefire list:

Aasif Mandvi

Abbi Jacobson

Adam Lambert

Aida Rodriguez

Ali Adler

Amandla Stenberg

Adam McKay

Afshan Azad

Ahamed Weinberg

Alan Cumming

Alfonso Cuarón

Alia Shawkat

Allison Russell

Alyssa Milano

Amanda Gorman

Amanda Seales

Amber Tamblyn

America Ferrera

Aminatou Sow

Andrew Ahn

Andrew Garfield

Anees

Ani DiFranco

Aminé

Anoushka Shankar

Aria Mia Loberti

ASAP Nast

Atsuko Okatsuka

Augustus Prew

Ayo Edebiri

Bassam Tariq

Bassem Youssef

Bella Hadid

Belly

Ben Affleck

Bobbi Salvör Menuez

Bonnie Wright

Boots Riley

Bradley Cooper

Brian Cox

Busy Phillipps

Carl Clemons-Hopkins

Caroline Polachek

Cat Power

Cate Blanchett

Channing Tatum

Charm La’Donna

Chase Sui Wonders

Cherien Dabis

Chicano Batman

Chioke Nassor

Clairo

Connie Britton

Cree Summer

Cynthia Nixon

Dan Bucatinsky

Darius Marder

Dave Merheje

David Cross

David Oyelowo

Deb Never

Dev Hynes

Dina Shihabi

Diplo

Dominic Cooper

Dominique Fishback

Dominique Thorne

Drake

Dua Lipa

Ebon Moss-Bachrach

Eisa Davis

Elvira Lind

Elyanna

Emily Gordon

Emily Meade

Emma Seligman

Farah Bsaiso

Farida Khelfa

Fatima Farheen Mirza

Florence Pugh

Fredwreck

Gigi Hadid

Gracie Abrams

Hari Nef

Hasan Minhaj

Hend Sabry

Howard Rodman

Ilana Glazer

Indya Moore

James Schamus

Jay Shetty

Jai Courtney

Jas Lin

Jenna Ortega

Jenni Konner

Jennifer Lopez

Jenny Yang

Jeremy Allen White

Jeremy Strong

Jes Tom

Jessica Chastain

Jessie Buckley

Jesse Peretz

Jesse Williams

Joaquin Phoenix

Jodi Balfour

Joe Alwyn

Joel Edgerton

Joel Kim Booster

John Cusack

Jon Stewart

Jordan Peele

JP Saxe

Judah Friedlander

Judy Reyes

Kathryn Grody

Kathy Najimy

Kaytranada

Kehlani

Kendrick Sampson

K.Flay

Kimiko Glenn

Kimya Dawson

Kirsten Dunst

Kristen Stewart

Kumail Nanjiani

Lauren Jauregui

Lena Waithe

Leo Sheng

Lionel Boyce

Lola Kirke

Louisa Jacobson

Macklemore

Mandy Patinkin

Mahershala Ali

Manish Dayal

Marcia Cross

Margaret Cho

Mark Ruffalo

Mark Rylance

Martin Starr

Massari

May Calamawy

Maysoon Zayid

Maz Jobrani

Megan Boone

Melanie Martinez

Melissa Barrera

Michael Malarkey

Michael Moore

Michael Shannon

Michael Stipe

Michelle Wolf

Mickey Sumner

Miguel

Milla Jovovich

Mira Nair

Miranda July

Misha Collins

Mo Amer

Mona Chalabi

Morgan Spector

Mousa Kraish

Mustafa Ahmed

Naomi Scott

Natalia Cordova

Natalie Merchant

Nia DaCosta

Nicole Ansari Cox

Noah “40” Shebib

Omar Metwally

Omar Sy

Oscar Isaac

Padma Lakshmi

Patti Smith

Peter Gabriel

Poorna Jagannathan

Poppy Liu

Quinta Brunson

Rachel McAdams

Rachel Sennott

Ramy Youssef

Raveena Aurora

Richa Moorjani

River L. Ramirez

Riz Ahmed

Roberta Colindrez

Rooney Mara

Rosaline Elbay

Rosario Dawson

Rosie O’Donnell

Rowan Blanchard

Run The Jewels

Rupi Kaur

Ruth Negga

Ryan Coogler

Ryan Piers Williams

Saagar Shaikh

Sami Zayn

Sandra Oh

Sarah Bahbah

Sarah Jones

Sarah Snook

Sarah Sophie Flicker

Sarita Choudhury

Sasami Ashworth

Sean Miura

Sebastian Silva

Sepideh Moafi

Shailene Woodley

Shaka King

Shruti Ganguly

SimiHaze

Simon Helberg

Snoh Aalegra

Sophia Bush

Stephanie Suganami

Susan Sarandon

Sydney Lemmon

Tahar Rahim

Tanya Selvaratnam

Tarek Bishara

Tavi Gevinson

Taylour Paige

Tessa Thompson

Tommy Genesis

Tony Kushner

Travon Free

V (formerly Eve Ensler)

Vic Mensa

Victoria Monét

Wallace Shawn

Wanda Sykes

Yara Shahidi

Yumi Sakugawa

Zoe Chao

Zoe Lister Jones

070 Shake

I know that there's the whole celebrities aren't our friends thing and I thought I outgrew being disappointed in them, I though I no longer expected anything from famous people

that being said, taika waititi being in support of genocide shocked me, since he was always talking about indigenous pride etc etc

please don't put obsessing over a celebrity and needing them to be good over your own morals

(for people that don't know what I'm talking about - some celebs signed a letter supporting what biden and Israel are doing, and some other celebs signed a letter in support of ceasefire. Taika's name wasn't in the second letter)

i will be deleting insensitive replies and comments, since this isn't just some discourse - it's about ethnic cleansing and active genocide

(edit: also for the 'but he's jewish' comments, being Jewish doesn't equal being in support of genocide. I have plenty of Jewish friends an they're all pro Palestine)

[bigyack-com]

Mira Nair, Naseeruddin Shah among 300 signatories extend support to students protesting CAA-NRC: ‘Our silence ends now’ - bollywood

More than 300 prominent individuals, including filmmakers Mira Nair, Nandita Das, actors Naseeruddin Shah, Ratna Pathak Shah, Jaaved Jafferi, Homi K Bhabha, Partha Chatterjee, Anita Desai, Kiran Desai, TM Krishna, Ashish Nandy, and Gaytri Chakravorty Spivak, among others, have signed an open letter, expressing their solidarity with the students of India who have been protesting Citizenship Amendment Act (CAA) and against the National Register of Citizens (NRC). Extending their support to the students, the signatories said in their letter, “We stand in solidarity with the students and others who are protesting and speaking out against the Citizenship Amendment Act (CAA) and against the National Register of Citizens (NRC). We salute their collective cry for upholding the principles of the Constitution of India, with its promise of a plural and diverse society. We are aware that we have not always lived up to that promise, and many of us have too often remained silent in the face of injustice. The gravity of this moment demands that each of us stand for our principles.” Also read: Shah Rukh Khan: ‘I am a Muslim, my wife is a Hindu and my kids are Hindustan’. Watch video Here is the complete text of the letter: An open statement from members of the Creative and Scholarly Community in IndiaWe are artists, filmmakers, writers and scholars. Our work reflects people’s lives, struggles and hopes. We offer our dreams to everyone.But what dream can show us the way in the midst of the present nightmare? Our vision for this nation demands that we speak up now, in the name of our democracy and the constitution that protects it. We stand in solidarity with the students and others who are protesting and speaking out against the Citizenship Amendment Act (CAA) and against the National Register of Citizens (NRC). We salute their collective cry for upholding the principles of the Constitution of India, with its promise of a plural and diverse society. We are aware that we have not always lived up to that promise, and many of us have too often remained silent in the face of injustice. The gravity of this moment demands that each of us stand for our principles.The policies and actions of the present government, passed quickly through parliament and without opportunity for public dissent or open discussion, are antithetical to the principle of a secular, inclusive nation. The soul of the nation is threatened. The livelihoods and statehoods of millions of our fellow Indians are at stake. Under the NRC, anyone unable to produce documentation (which, in many cases, does not exist) to prove their ancestry may be rendered stateless.  Those deemed“illegal” through the NRC may be eligible for citizenship under the CAA, unless they are Muslim.Contrary to the stated objective of the government, this does not appear to be a benign legislation, only meant to shelter persecuted minorities. The list of exclusions seems to indicate otherwise. Why are minorities from other neighbours like Sri Lanka, China and Myanmar excluded? Isit because the ruling powers in these latter countries are not Muslim? It appears that the legislation believes that only Muslim governments can be perpetrators of religious persecution. Why exclude the most persecuted minorities in the region,the Rohingya of Myanmar or the Uighurs of China? This legislation only acknowledges Muslim perpetrators, never Muslim victims. The aim is transparent: Muslims are the unwelcome Other.This is state-sanctioned religious persecution, and we will not condone it. In Assam and the Northeast, and in Kashmir, the indigenous identity and livelihood is threatened as never before, and we will not condone it. The response of the government and law-enforcement agencies to the distress of its citizens has been callous and high-handed. India has seen the most Internet shutdowns of any democracy in the world. Police brutality has left hundreds injured, including many students from Jamia Milia Islamia University and Aligarh Muslim University. Several citizens have been killed while protesting. Many more have been placed in preventive detention. Section 144 has been imposed in numerous states to curb protests. We need look no further than Kashmir to see how far this government is willing to go to suppress democratic dissent. Kashmir is now living under the longest Internet shutdown ever imposed by a democratic government. Enough is enough.Those of us who have been quiet in the past, our silence ends now. We will be clear-sighted in our dissent. Like our freedom fighters before us, we stand for a secular and inclusive vision of India. We stand with those who bravely oppose anti-Muslim and divisive policies. We stand with those who stand up for democracy. We will be with you on our streets and across all our platforms. We are in solidarity.” Here is a list of some the signatories: Rahman Abbas, Anvita Abbi, Ajayan Adat, Ramona Adhikari, Faraz Ahmad, Anvar Ali, Zaheer Ali, Lalitha Alilu, Shimit Amin, Jyothi Ananthasubbarao, Vidya Das Arora, Sushila Bahanda, Vikas Bajpai, Ritwik Banerjee, Sudeshna Banerjee, Sumanta Banerjee, Susan Barton, Aamir Bashir, Amit Basole, Rakhi Basu, Dev Benegal, Homi Bhabha, Amit Bhaduri, Madhu Bhaduri, Nabakumar Bhattacharyya, Akeel Bilgrami, Rani Day Burra, Sundar Burra, Meena C. K., Priya Sarukkai Chabria, Suresh Chabria, Amitabha Chakrabarti, Pariplab Chakraborty, Sudhir Chandra, Civic Chandran, Indu Chandrasekhar, R.K. Chandrika, Partha Chatterjee, Shoma A. Chatterji, Salil Chaturvedi, Amit Chaudhuri, Neel Chaudhuri, Vasundhara Chauhan, Rajendra Chenni, Anuradha Chenoy, Kamal Chenoy, Zasha Colah, Naresh Dadhich, Vasudha Dalmia, Sumangala Damodaran, Swati Dandekar, Arpita Das, Nandita Das, Vibha Puri Das, Maya Dayal, Naina Dayal, Deena VJ, Anita Desai, Kiran Desai, Sudhanva Deshpande, Meera Devidayal, J. Devika, Asish Dey, Dipak Dholakia, Arundhati Dhuru, Xavier Dias, Anju Dodiya, Atul Dodiya, Jean Dreze, Lillete Dubey, Avalokita Dutt, Indranee Dutta, Walter Fernandes, Arunima G., Karen Gabriel, Ramakrishna Gampalahalli, Leela Gandhi, Mridula Garg, Geetika, Amitav Ghosh, Jayati Ghosh, Persis Ginwalla, Roshmi Goswami, Sheela Gowda, Srinivasa Gowda, Meena Gupta, Rajiv Gupta, Atul Gurtu, Rajan Gurukkal, Leela Hansda, Saba Hasan, Zoya Hasan, Sohail Hashmi, Shabnam Hashmi, Vinita Hembrom, Nataraj Honnavalli, M. G. Husain, Shamsul Islam, Sameera Iyengar, Vikram Iyengar, Jaya Iyer, Jaaved Jaferi, Bharati Jagannathan, Jagmani, N.D. Jayaprakash, K.P. Jayasankar, Pervin Jehangir, Dhirendra Jha, Ram Naresh Jha, Mary John, Mary Joseph, Rajesh Joshi, Jane K., Sushi Kadanakuppe Srinivas Kakkilaya, Vimala Kalagar, Priya Kalapurayil, Rina Kamath, Kalpana Kannabiran, Aman Kanwar, Harsh Kapoor, Ram Kapoor, Geeta Kapur, Manju Kapur, Aruni Kashyap, Suhit Kelkar, Sonal Kellogg, Mukul Kesavan, Faisal Khan, Habib Khan, Shah Alam Khan, Devaki Khanna, Ayesha Kidwai, Santosh Kiro, K John Koshy, Mridula Koshy, Teresa Kotturan, Ancilla Kozhipat, Pradip Krishan, Sumi Krishna, T.M. Krishna, Amitadyuti Kumar, Ashutosh Kumar, Kirtana Kumar, Radha Kumar, Sandhya Kumar, Sitanath Lahkar, Basanti Lakra, Jyotsna Lall, Swapna Liddle, Ania Loomba, N. S. Madhavan, Surabhi Sharma, Jatin Sheth, Mira Shiva, Geetanjali Shree, Dilip Simeon, Devika Singh, Savithri Singh, Preeti Sinha, Sachidanand Sinha, Shantha Sinha, Kita Sinku, Jawhar Sircar, Gayatri Chakravorty Spivak, M. S. Sriram, K. V. Subrahmanyam, Kadayam Subramanian, Sumita, Vivan Sundaram, Sehba Taban, Deepika Tandon, Kiran Tandon, Vikram Tandon, Anand Teltumbde, Anita Thampi, Romila Thapar, P. K. Michael Tharakan, Susie Tharu, Asha Tirkey, Palo Tunti, Ananya Vajpeyi, Vamsi Vakulabharanam, Achin Vanaik, Sankar Varma, Sushma Varma, Sushma Veerappa, Prem Verma, Gauri Vishwanathan, Asha Vombatkere, Sudhir Vombatkere, Salim Yusufji, Ajit Zacharias. Follow @htshowbiz for more Interact with the author @swetakaushal Read the full article

[nofomoartworld]

Hyperallergic: Visit Open Studios in a Former Officer’s House on Governors Island

Macon Reed, “Bearing Ancestral Witness” (2017) (courtesy the artist)

Want to get some air in the stifling summer heat? Head to Governors Island! This holds especially true this year, as the venerable feminist art nonprofit AIR Gallery has taken over a former military officer’s home for its inaugural artist residency program there. Now that the nine resident artists — Sarah Anderson, Ofri Cnaani, Mira Dayal, Rachel Guardiola, Emily Oliveira, Macon Reed, Barb Smith, Victoria-idongesit Udondian, and Allison Wade — are settled into House 4A in Nolan Park, they’ll be welcoming the public into their secluded island studios on Saturday, July 29 and Sunday, July 30. Come get an early look at the work they’ll be developing over the next eight weeks in an environment that’s a far cry from the converted warehouses of your typical open studio events in Gowanus or Bushwick.

Cynthia Karasek’s “Heaven and Earth” (2015-16) from AIR Gallery’s programs on Governors Island in 2016 (courtesy AIR Gallery)

Visitors who make the ferry trip should seize the opportunity to also explore AIR’s concurrent exhibition featuring five of the residents, Fragmented Imaginaries, which will have its opening reception the afternoon of July 29. Fittingly for an island rich in military history that is also being remade for a future of recreational and cultural uses, the featured works explore disjunctures between real and imagined pasts, and their implications for the present and future.

When: Saturday, July 29 and Sunday, July 30, noon–5pm Where: AIR at Governors Island (House 4A, Nolan Park, Governors Island)

More info here.

The post Visit Open Studios in a Former Officer’s House on Governors Island appeared first on Hyperallergic.

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[indytags-blog]

Shahid Kapoor makes his sister-in-law’s day – find out how!

Shahid Kapoor makes his sister-in-law’s day – find out how!

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There is no doubt that Shahid Kapoor is one doting husband. The Rangoon actor is a devoted family man and now we heard that he is a cool brother-in-law too. Yes, the actor did something special for Mira Rajput’s sister, Priya and her son Vivan. It seems that Mira Rajput’s elder sister Priya and her son Vivan are a huge fan of Voice and they really like Neeti Mohan and Benny Dayal.…

[entertainmentdetboat-blog]

Shahid Kapoor makes his sister-in-law’s day – find out how!

Shahid Kapoor makes his sister-in-law’s day – find out how!

There is no doubt that Shahid Kapoor is one doting husband. The Rangoon actor is a devoted family man and now we heard that he is a cool brother-in-law too. Yes, the actor did something special for Mira Rajput’s sister, Priya and her son Vivan. It seems that Mira Rajput’s elder sister Priya and her son Vivan are a huge fan of Voice and they really like Neeti Mohan and Benny Dayal. Shahid who had…

[santmat]

Selections from the Saints and Mystics - Exploring A Treasure-Trove of Spiritual Writings and Teachings - Sant Mat Sampler

"Sant Mat" can be defined as: "The Teachings ('Mat') of the Saints ('Sants') or Sages" or "Path of the Masters". In India it’s common knowledge that the term "Sant Mat" was coined or adapted by Param Sant Tulsi Sahib of Hathras during the 19th-century. "Sant Mat" was adopted and popularized by Tulsi Sahib as a new name for this spiritual path or genre of mysticism, but the Sant tradition, with its many guru-lineages or branches, is a spiritual movement that dates back many centuries to ancient India.

Spiritual Awakening Radio Podcast: Selections from the Saints and Mystics - Exploring A Treasure-Trove of Spiritual Writings and Teachings - Sant Mat Sampler - Listen, Download, Subscribe @ the Podcast Website: 

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"There is no end to the number of Sants who appeared in the Yugas [Epochs] of Sat, Treta, Dvapar, and Kali [Yuga]. I sing of the celebrated one I have heard of, and bow my head to all the others." (Jan Gopal, disciple of Sant Dadu Dayal)

"I have given out the same true secrets which Sants like Kabir Saheb, Dadu Saheb, Rai Das Ji, Darya Saheb, Guru Nanak, Soor Das Ji, Nabha Ji and Mira Bai have spoken of. They, too, have composed similar hymns describing the bliss of the Highest Spiritual Region, whose glory I also have sung, blessed by the grace and the dust of the holy feet of Sants." (Sant Tulsi Sahib, Book of Ghat Ramayan)

"The names of some of the perfect and true Sants, Sadhs and Faqirs who manifested themselves during the past seven hundred years are Kabir Saheb, Tulsi Saheb, Jagjiwan Saheb, Garib Das, Paltu Saheb, Guru Nanak, Dadu Saheb, Tulsi Das, Nabhaji, Swami Hari Das, Sur Das and Rai Das. And some of the Muslim names are Shams Tabrez, Maulvi Rumi, Hafiz, Sarmad and Mujaddid Alif Sani. A perusal of their writings would give an idea of their spiritual attainments." (Sar Bachan Radhasoami Prose, A Summary of the Teachings of Soami Ji Maharaj)

"Sacrifice to the magnificent Saints like Kabir, Nanak, Goswami Tulsidas and Tulsi Sahib, Dadu, Sundar Das, Sur Das, Swapach, Ravi Das, Jagjiwan, Paltu, etc..., They are all great benefactors, delivering human beings from the fears of the world, Satguru Devi and other Saints are also highly adorable, Maharshi Mehi sings their magnificence and lies prostrate at their sacred feet with faith and love." (Maharshi Mehi Paramhans, Book of Padavali)

Today on this Sant Mat Satsang Podcast Selected Quotes from Many Different Sant Mat Masters and Spiritual Classics Introducing The Way of the Saints, The Path of the Masters - A Production of Spiritual Awakening Radio.

In Divine Love, Light and Sound,

James Bean

Sant Mat Satsang Podcasts

Spiritual Awakening Radio

https://www.SpiritualAwakeningRadio.com

#SpiritualAwakeningRadio #SantMatSatsangPodcasts #SantMat #Sant_Mat #Satsang #Spirituality #Meditation #India #Podcasts #Spotify #ApplePodcasts #GooglePodcasts #PodBean #IHeartRadio #Gaana #AmazonMusicPodcast #Audible #SpiritualQuotes #GodIsLove

#santmatsatsangpodcasts #spiritualawakeningradio #satsang #santmat #sant_mat #spiritualpodcasts #podcasts #spiritualawakening #suratshabdyoga #tulsisahib #soamijimaharaj #huzurmaharajraisaligram #maharshimehi #swamisantsevijimaharaj #swamivyasanand #kirpalsingh #sawansingh #ajaibsingh #santji #thelightofajaib #simran #eknath #rumi #sants #santmatradhasoami

[sculpture-center]

FEATURED ARTIST: Mira Dayal, After DM, 2017. Digital scan. Dimensions variable. Courtesy the artist.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Mira Dayal

Mira Dayal works at the intersections of drawing, printmaking, photography, and installation. Her recent work has explored hair as a material through which to comment on contemporary political affects. She is interested in excavating decay and desire.

Mira Dayal (b. Franklin, IN) lives and works in New York. She studied at Barnard College of Columbia University in New York, NY. This summer, she was awarded A.I.R. Gallery’s Governor’s Island Residency. In the near future, she will be included in Volley, a group show at Abrons Art Center, and Material Metaphors, a solo exhibition at NARS Foundation.

Mira Dayal, Material Metaphors, 2017. Ginger, string, silk, dirt, salt and pepper, ash, oil, strawberry. Dimensions variable. Courtesy the artist.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Mira Dayal, Untitled, 2017. Inkjet print. 8 x 10 inches. Courtesy the artist.

www.sculpture-center.org

-JH

This post is part of our Connective Tissues series.

[sculpture-center]

FEATURED ARTIST: Mira Dayal, JVH, 2017. Digital scan. Dimensions variable. Courtesy the artist.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[nofomoartworld]

Hyperallergic: “Everything I Do Has the Smell of Digital”: Lorna Mills on Her Art

Lorna Mills, “Mountain Light/Time” (2016), animated GIF, installation at Times Square, New York City (all images courtesy Lorna Mills)

Lorna Mills is a Canadian artist whose videos and screen installations obsessively mine internet culture and reflect contemporary anxiety. Her recent collaborative project Ways of Something presents a remake-as-critique of the late John Berger’s Ways of Seeing, a text and 1972 BBC television series that represented a larger shift toward feminist perspectives of art history based in material, economic, and cultural concerns. For Mills’s project, over 100 artists were invited to supplement one-minute segments of Berger’s original audio and subtitles with their own visuals. The resulting piece was most recently shown in New York as part of the Whitney Museum exhibition of video work, Dreamlands: Immersive Cinema and Art, 1905–2016.

This year, Mills will be part of Transfer Download, a survey of immersive multi-channel video installations by contemporary artists, curated by Kelani Nichole, which is traveling to HeK in Basel and Chronus Art Center in Shanghai. She also just released a new digital work this month via Bcc:, a subscription-based platform curated by Decoy Magazine that commissions artists to create e-mail-based pieces.

Scrolling through Mills’s website (appropriately named “LornaMillsImageDump”) is a bit like experiencing a warped and nauseating version of the internet or a frantic Tumblr feed — because much of Mills’s work uses GIFs and animations, there is motion everywhere on the screen, and one piece tends to bleed into another. The resulting sense of immediacy and chaos is disturbing, compelling, and at times amusing. A bulldog in a baby swing happily prepares to break out of its pixelated confines; a video trip around a mountainside invites the viewer’s stomach to drop. I find myself reacting physically to what is explicitly (and forcefully) internet site-specific. To explore further some of the themes and images that permeate this oeuvre, I spoke with Mills about image circulation, digital ownership, and the connections between digital and physical bodies.

*   *   *

Kevin Heckart, Ways of Something, episode two, minute one

Mira Dayal: You started the Ways of Something series in 2014 as a largely collaborative project in which artists contributed video to accompany John Berger’s original soundtrack and subtitles. How has your work on the series affected your own practice? Which contributions most surprised you in their reinterpretations of the text?

Lorna Mills: There really wasn’t any big effect on my own work, other than considering a longer timeline for an animated GIF collage. That was only because I had a good reason to build up the collage within a space of 60 seconds rather than presenting all the elements simultaneously, as I generally do.

I was surprised by most of the contributions, but the most unexpected minute was in episode three from Evan Roth, who used footage from a Pirate Bay press conference while Berger spoke about a world without scarcity that contradicts the history of private property.

MD: I was struck in reviews of Dreamlands by the emphasis on distraction in a show about immersion, particularly given the premise of Ways of Something — is there a similar tension in your work when you describe it as “obsessive?”

LM: Yes, definitely. I’ve always had a strong sense of focus, but at the price of eliminating most distractions when I’m concentrating. This makes me a very bad listener. Yet, paradoxically, I seem to work best with background noise — in fact I thrive on it. So much of my work involves isolating and dissociating elements from their original contexts, but leaving evidence that they are from elsewhere.

MD: Part of the nature of working with the internet as a medium is this obsession with distraction. Are there any divisions between your “working” time and distracted browsing? Does any part of your process involve working with physical materials?

LM: No, I always consider myself working when I’m online. And yes, I do work with physical materials. I do a lot of projects that involve scanning, altering, and printing.

MD: How, if at all, do you differentiate between the effects or purposes of those physical processes versus their digital counterparts?

LM: I actually don’t differentiate their purposes at all; everything I do has the smell of digital wafting into the air around it.

MD: Your “Mountain Light/Time” installation, which was featured in Time Square’s Midnight Moment art programming, seems to have been another critical installation for you. In that work, you noted that the timing of the GIF was calibrated to correspond with a deep inhalation and exhalation, a connection to the body that I see throughout most of your work. It’s a bit less frenzied here. Was this approach intended to counter or heighten the existing spectacle of lights and crowds at Times Square? It creates a nice mental image of a massive, disconnected crowd breathing together.

LM: I wish I could say that everything in that work was considered for the Times Square program, but it wasn’t. The work was originally created for the Moving Image Fair and was submitted to the Times Square Arts Alliance for their consideration. I’m glad of this, because I would have been tempted to make something more complex that might have been lost in the context of Times Square. The piece worked because it was simple and because of the yellow light that flooded the square when it played. That set it apart from all the visual cacophony of the electronic billboards.

Theodore Darst, Ways of Something, episode one, minute nine

MD: When your work is installed in a public space, there’s a sort of rupture from the intimacy of viewing the work on your own phone or laptop — a rupture that perhaps parallels that of physical work being transplanted from studio to gallery. You seem to have addressed this in your installations by swallowing the viewer in a space created through large-scale projections or dozens of individual screens. How do you begin to map out installations of your work? If you had unlimited space, time, and resources, what would be the ideal mode of installation?

LM: I am an unapologetic planner. I create renderings of the space and plot out the locations and scale as much as possible. I wouldn’t want unlimited space, time, and resources; it’s the limitations and context that make installations interesting. That said, I’d like to have more opportunities with large spaces. I enjoy spectacles now. I lacked the confidence to about think about larger scale in my earlier years as an artist, but now my ego has reached monstrous proportions and I am ready to fail in a big way.

MD: In your work in GIFs, you tend to remove the “backgrounds” of images to isolate a figure or subject, leading to some descriptions of the work as “deconstructive.” I think of these backgrounds as the contexts for the images, but in some ways the context has already been removed from any image found online. The visual effect is of a collage or landscape, but it’s slippery and decaying too. Why is this form of editing important to you?

LM: It’s a type of transparency, clearly pointing to the fact that the original images were made for other reasons, a way of being true to an image source.

MD: Right. You’ve also mentioned that Hito Steyerl’s “In Defense of the Poor Image” has been important to your work, and she questions even the relevance or motives of an “original” image, a single source. Every new version of an image is already poor, and the reference to its circulation is imbedded in its displacement. I was more wondering about that aspect of manipulating the image.

Lorna Mills, “Hand Job” (2014), animated GIF

LM: I actually do think the original image has some relevance (and I do puzzle over the motives of some of them). To re-purpose something for all my fine art needs should acknowledge that there was an original purpose or reason for the image, even if the motives are lost in translation. For example, there’s a huge conversation around cultural appropriation, so displacement is not a neutral term.

MD: As your images proliferate on the internet, they rejoin their internet counterparts and perhaps become part of incidental collaborations. Your website is a sort of archive of the images you have made. How do you think of ownership over your work?

LM: I wonder if any artists working online think so much about ownership. They tend to think more about credit for the things they have done.  Ownership also suggests some sort of control over the work, and we know that isn’t always possible online.

MD: So is the archive for you a form of accreditation?

LM: I suppose, but I don’t worry so much about it day to day. Transfer Gallery published a GIF catalogue of my work recently and I think that serves as a more official form of accreditation.

A lot of my artist friends get very angry, and rightly so, when their work is lifted without permission for commercial reasons that they don’t benefit from. Sadly the advertising industry has shown very little preference for self-felating kangaroos or turtles humping shoes in perpetuity, so I have been unable to sue anyone for big money.

Lorna Mills, At Play in the Fields of the Lord, 2015 solo exhibition at Transfer Gallery, Brooklyn, New York

MD: You’ve also worked on several projects that are explicitly collaborative. Your upcoming e-mail-based project for Bcc: at Decoy Magazine is “commissioned” by Bcc: subscribers, who will have exclusive access to the work. Have you circulated work in this mode before? Maybe you can tell me a little bit about the direction you’re taking for the Bcc: project.

LM: Yes, I have been invited to make work for exclusive e-mail distribution in the past. I don’t work with concepts — it’s just a filthy little GIF that we are sending out with Bcc:.

MD: Do those projects feel any different to you since they won’t be re-circulated in the same ways as your other work? It gives you a specific audience to think about.

LM: Only in the sense that since an e-mail is private I can perv out a bit more than I would on social media. I know that I enjoy all the filthy GIFs that my friends send me through private channels (but don’t send me dirty GIFs if you aren’t my friend).

MD: What else are you looking forward to?

LM: I’m showing a projection triptych at the Resonate Festival in Belgrade, curated by Nora O’Murchu, and delivering the closing keynote. I’ll probably talk about Nazi art because that’s what I always want to talk about, and the rest of the world seems to be catching up.

MD: Perhaps we can end with something you’ve read or seen recently that you’ve been thinking about as an influence for your work?

LM: I don’t read about art; I prefer to read about history. Sally McKay is the artist with the greatest influence on my work.

Lorna Mills’s project with Bcc: at Decoy Magazine continues through the month of March. The Resonate Festival in Belgrade, Serbia takes places April 19–22. 

The post “Everything I Do Has the Smell of Digital”: Lorna Mills on Her Art appeared first on Hyperallergic.

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