Megh Mandal Sansthan organised the 6th edition of Chitranjali 2023, their intellectual property (IP) Chitranjali dedicated to celebrating the remarkable contributions of Raja Ravi Varma, the first modern Indian artist, in the realm of art and culture. His Excellency Shri Arif Mohammad Khan (Governor of Kerala) graced Chitranjali 2023 as Chief Guest held recently at Dr. Ambedkar International Centre, New Delhi.
Chitranjali, which is a unique platform to pay homage to one of the most accomplished painters and artists in Indian history, also honours contemporary artists from diverse backgrounds. This year, 15 artists from India were felicitated by Megh Mandal Sansthan for their significant contributions to the art and culture in the presence of 600 plus attendees at Dr. Ambedkar International Centre.
Reminiscing the unforgettable contribution of Raja Ravi Varma to India’s artistic treasure, Shri Arif Mohammad Khan Governor of Kerala commented, “India, the birthplace of innumerable art forms and home to pristinely rich culture, gifted many celebrated artists to the world and Raja Ravi Varma, who stunned the West with his sketches and strokes, comes on the top echelon of this cadre of artists. Recounting his marvellous work at Chitranjali 2023 is a commendable initiative by Megh Mandal Sansthan. The Sansthan aptly followed the vision and exemplary leadership of Vimlesh Brijwall and got tremendous success by converting her vision into reality .”
Also, he gives eminence thanks to Honorable Shri G. C. Murmu (Comptroller and Auditor General of India) for his support and efforts in this successful art and cultural event.
In an environment infused with the vibrant colours of human creativity and imagination, Ms Vimlesh Brijwall, Secretary, Megh Mandal Sansthan, captivated the audience with her words of reverence towards the immortal work of Raja Ravi Varma. She said, “Raja Ravi Varma’s artistic work will always be cherished as a legacy for painters who flourish on original concepts, uncanny methodologies, and evocative masterpieces. He was a great Indian emissary in the field of art whose paintings shed light on the various dimensions of cultural as well as spiritual evolution in both lucid and surreal manner. His portraits are full of poetic imaginations and translate so many sublime emotions that cannot be overlooked by conscious eyes.”
“For the successful accomplishment of Chitranjali 2023, I owe my heartfelt gratitude to Honourable Shri G. C. Murmu (Comptroller and Auditor General of India) whose invaluable support guided us to organise all the things in a planned way. Though he couldn’t join us today due to some prior commitments, his presence is very much noticeable here with his wishes & blessings,” added Ms Vimlesh Brijwall.
Amidst this cultural fest, a distinguished panel of artists, art critics, and cultural experts has also participated in enlightening discussions and presentations on the significance of art in a civilized society.
Mr Rama Varma, who enjoys the lineage of Great Raja Ravi Varma, went a bit emotional while throwing light on the sagacious journey of the 19th-century icon. He asserted, “It is true that Raja Ravi Varma is an inspiration to many accomplished artists, but we have to make the current and future generations aware of his maverick vision that helped Indian artists receive due recognition across the globe. I am grateful to Shri Arif Mohammad Khan Governor of Kerala , Vimlesh Brijwall, Megh Mandal Sansthan and Shri G. C. Murmu for remembering Raja Ravi Varma and his celebrated work.”
Megh Mandal Sansthan is an NGO based in Rajasthan led by Ms. Vimlesh Brijwall. The Sansthan has been committed towards preserving Indian art, culture and traditions. Also the noble cause of the betterment of society and promoting the concept of sustainable development in various sectors. It has been working towards bringing positive changes in the lives of underprivileged children, their families and communities.
Later on, renowned Kathak dancer, Sonali Sharma, mesmerized everyone with the dance drama, Ek Chitrakaar.
Name of the awardees – Dilip Tamuly, Harsh Vardhan Sharma, Shyam Sharma, Kalyan prasad Joshi, Kanaiyalal Fakirchand Patel (Kanu Patel), Manisha Jha, M. Akram Khan, Krishnapriya, Aradhana Tandon, Anuradha Thakur, Nawal Kishore, Seema Bhalla, Sangeeta Singh, Prashant K. Sarkar, Vigyan Vrat.
As Miami Art Week makes its annual approach the first week of December, the New York art world is making its last-minute travel plans to converge on to Miami. With so many events planned every night, Miami braces for this artful invasion with early gallery openings featuring their newest talents before they get drowned out in all the noise.
Art N Folly Gallery is previewing their group show “Made in Dade” November 18 – 28, 2022, and showcasing one of their rising sculptural stars, artist Anat Fritz, a New York transplant, who recently landed into the rich Miami art scene.
Anat Fritz is recognized for her unique, multicolored, silk fabric sculptures dipped in resin and draped over welded steel. Her objects defy gravity and release an extra-dimensional wave to a chosen few. Anat smothers liquid resin and silk fabric, freezing it in time where the surface acts as a lens through several transparent forms and materials, giving off the magic of 5D.
“Did you ever ask yourself why we humans wake up into 3D reality every morning? I question that – It’s a deep programming that we signed up for. One day we will all default into 5D consciousness. I am holding this vision for us through my work. It’s an inevitable truth for me that evolution will ultimately teach us all how to reside in 5D awareness longer and ultimately switch fully into higher consciousness and become the creator that we are meant to be”. – Anat Fritz
At a young age, Anat Fritz was an independent thinker always in constant flight, so over time, she decided to “F**K Gravity” with her new art movement. Anat has invented a diverse mix of sculptures, all dedicated to releasing individuality and creating awareness for the 5D ascension.
Join us as we celebrate the work of Anat Fritz, wandering through the magical world of her Hard Silk sculptures. Her otherworldly shapes are known to give their admirers a peek into the looking glass of the 5D realm; that higher vibrational reality, which exists parallel to our very solid and material world of the 3rd Dimension.
We encounter a vast array of materials used in contemporary sculpture. The traditional materials – wood, marble, clay, or bronze, are still very frequently used. However, a new set of materials has found its way to sculpture, think of PVC, concrete, and foam, and implementing industrial processes, engineering, and new technologies like resin, resulting in new possibilities.
Anat’s sculptures are in conversation with art movements such as Kevin Beasley’s, Leiko Ikemura and Damien Hirst’s work, pushing the boundaries of Art. Anat Fritz is the new innovation, breaking into the rich Miami art scene.
Make sure to put this opening on your travel itinerary to meet the artists and experience her art for yourself at Art N Folly Gallery November 18th-28th located at 117 NE 1st Ave Miami FL 33132 for more information please go to www.anatfritz.miami and be sure to follow on Instagram @anatfritzdesign.
- Arun Kumar HG
- Anju Kaushik
- Kanchan Chander.
- Haribaabu Naatesan
- Plastic-vala Aka Manveer Singh Gautam
- Ritu Kamat
- Ruchika Wason Singh
- Sandeep Biswas
- Satish Sharma
- Shovin Bhattacharjee
- Shubhra Chaturvedi
- Vandana Performance Artist
The Desee Art team is headed by Founder Pulkit Somani. This project is curated by Georgina Maddox an independent Curatorial Consultant. They are assisted by team of Malvika Jha (Junior Curator & Artist manager), Srabasti Halder (Researcher and Content Writer), Tavishi Rai (Digital Marketing Manager), Prarabdh Sharma (NFT SME), Aashti Kazmi (Graphic Designer) Vishu Bhardwaj (Website Development
Art without purpose is a sad attempt at beautification. Art needs to be political, revolutionary, it needs to be a criticism, a commentary, at the very least reflective. With that intention and aspiration, we are hoping to curate an exhibition which will bring together an ensemble of artists who are determined to be a part of environmental change and present a path towards sustainability.
It is perhaps the first time that so many variant factors come together. On one hand we have the unification of technology and art in a virtual space, whereas on the other art and artists can play a major role in sustainability—not just on a conceptual level but also in the physicality of the materials and methods employed. We see this in the artworks and the manner in which many of the artists have worked on them.
Desee Art and its team are mounting the show in a non-white cube, experimental space of an auditorium that uses natural light, air and settings with a low carbon imprint and environmentally positive coverage for the artwork. Also employed is an art café and the revitalizing of an entire space that reaches back to the pre-globalization era.
Paul O’Brien in his article “Art, Politics, Environment” writes, “If the dominant political issue in the twentieth century was the conflict between market and state, there is little doubt that this has been supplanted in the twenty-first century by environmental issues, most notably that of global warming.” He further writes, “I believe that what we will see a new paradigm based on the notion of participation, in which art will begin to redefine itself in terms of social relatedness and ecological healing, so that artists will gravitate toward different activities, attitudes and roles than those that operated under the aesthetics of modernism”. These statements resound in our intent with this exhibition since we have not only lived through a horrific Pandemic but also continue to survive each day in this new “normal”.
One must acknowledge the intensity of climate change and our roles within this context. It is a state of emergency and over the years eco art won’t be on the sidelines of the art-world but at the very forefront. It is an inevitable journey and we hope to be a part of this endeavour. The artists are dynamic and belong to diverse backgrounds and bring their own experiences and concerns to the table. The artworks will be in conversation with each other in more than one way since the foundation of each of their concerns are rooted in the same global matter of environmental sustainability.
Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs. It contains within it two key concepts: – the concept of ‘needs’, in particular the essential needs of the world’s poor, to which overriding priority should be given; and – the idea of limitations imposed by the state of technology and social organization on the environment’s ability to meet present and future needs.
In 2015, the United Nations drew up a set of 17 global goals to combat poverty, inequality, environmental destruction, and more by 2030. These Sustainable Development Goals (SDGs) representing international collaboration unparalleled in human history – are now adopted by 193 countries.
The 17 SDGs are focused on a wide variety of topics, few of which are: Clean Water and Sanitation, Affordable and Clean Energy, Decent Work and Economic Growth, Sustainable Cities and Communities, Responsible Consumption and Production, Climate Action, Life Below Water and Life on Land.
This list is something that has been published and discussed internationally and while some of it sounds like a wish-list that is very idealistic, a lot of it is actually absolutely necessary for the survival of our species and the survival of the planet. This art exhibition hopes to give a platform to address issues around the SDG and other important issues arising from the contemplation and practice of an approach that is friendly to our environment and our world.
We are incorporating NFTs as an element of this exhibition.
As the hype around NFTs and actual digital ownership continue to bubble in 2022, high gas fees on Ethereum and environmental factors concerning the creation of NFTs rage on. We, at Desee Art, are leveraging a blockchain to come out with environment focused, environmentally sustainable NFTs. This is Desee Art’s initiative and hope towards a better future, for which we hope to constantly aim for better and deliver. Art, after all, is a revolution.
Arun Kumar H.G.
Arun Kumar HG has an interesting story to tell. It is unique and is bound to pique your curiosity into how the journey of an artist looks like. He has worked for a while in the toy industry and thus his experience of sculpting borrows from there. The idea that largely marks his work is finding a sense of complexity in simplicity. It sounds like a juxtaposition but most of his worldview has been shaped by looking at the simple world of children’s toys. However, the meaning that the work carries does not necessarily have to be simple. That kind of a perception is especially foregrounded in his works which talk about sustainability as well. Even though he is an artist based in Gurgaon, he makes sufficient time to go back to his native village where he collaborates with other environmental activists regarding the aspect of sustainability. It is a topic that holds much significance to him and an installation like ‘Plastic Drop’ brilliantly captures that emotion. The work is simple, not simplistic. To reiterate, even that one ignored bottle cap which we chuck into the bin is creating an enormous impact on the environment. And in moments like these we go back to old sayings which say that each drop contributes to the making of a sea. These bottle caps are like bullets, if you were to take a visual path of imagination: small yet destructive.
The transformation of the quotidian to the aesthetic, of waste and junk to an object that is collectible and possesses a sense of raw urban beauty is what artist Anju Kaushik is known for achieving in her art works that are culled out what is usually termed as ‘waste materials’. Her new works tend tends toward the sculpturesque, with a preference for high-relief surfaces and recently she has been moving towards completely embracing the third dimension. She prefers working with discarded objects, transforming them by embedding them with plaster of Paris, concrete and wood. The act of reclaiming old, rusted and discarded objects and giving them new life is particular to Anju’s practice and ties up with the contemporary act of ‘recycling’ that which is discarded in a society known for its ‘use and throw away’ behaviour. The objects challenge the idea of what is rejected elevating the object from what may appear to be part of a ‘mundane existence’.
Anju’s relationship with the objects is driven by intuition to reinvent the object, it is also an act of coincidence and sometimes not an entirely conscious alignment. Her works are often connected into a loose narrative, where she makes a commentary on the environment, where a fossilized fish shape is a poignant reminder of urban detritus and waste, or a mechanical object pervades over the natural landscape. A hunk of concrete is pedestalized, brushed with paint, nails, wire and placed upon a concrete bracket creating a new relationship between the disparate articles of waste.
Working primarily with scrap material, junk and recycled metal artist Haribaabu Naatesan has been passionate about recreating art through what is often thought of as waste. He sees sculptures in metal scraps, he conjures up art forms from discarded computer hardware, he draws inspiration from electronic junk. The result is art that has a multipronged usage, it can grace a drawing room or garden, but not a junkyard.
An alumina of the Chennai School of Fine Arts, and the National Institute of Design, Ahmedabad, (NID), Natesan brings his sense of design to his artwork while creating work that is evocative of both the garage and the workroom but he transforms it into an aesthetic experience that evokes several levels of experience which is a raw urban beauty coming together with the colourful palette from his home town Tamil Nadu. The Bazaar is as much part of his art as is the fine art studio and one gets a sense of this multiplicity of cultural expression with his bright yellows and shocking greens that sometimes veer into subtle greys and pinks.
Kanchan Chander –
Kanchan Chander’s work is a layered perspective of sustainability through the lens of eco-feminism which could be considered a sub-genre of eco-art. Feminists have claimed their bodies and identities through generations in order to represent the issues which go beyond the general perception and intersect at a point of gendered interlapping. Kanchan Chander uses her feminist sensibilities which arise from a personal space of thought as she introduces her piece, ‘Torso and Tree’. The female torso has been her interest for the past 3 decades or so. She juxtaposed this very torso, which seems to be her own, against a foliage of trees which were a part of her daily routine during her morning walks in the park. This ‘self’ which walks in the park and is free to express her relationship with nature is what comes through in ‘Torso and Tree’. Chander believes that the female torso holds a lot of power and beauty for what it represents universally and thus it has become an element of close introspection for her. On the other hand, in her etched print ‘Adiparashakti’, the trees are open to interpretation by the viewer, either as something tranquil, serene or even a void. These several representations of nature in contrast to her association with the female torso could open up several conversations about how even the concept of sustainability is inevitably connected to gender and sexuality.
Plasticvalla A.K.A. Manveer Singh Gautam
Plasticvalla is a name that was derived from their cultural association of one’s occupation with their name. Although that concept is also deeply rooted in the perception of caste, Manveer adopted this name from the residents of the neighbourhood where he collects ‘hard to recycle’ plastic. After a long-drawn process of this collection in the Habit Changer Boxes and cleaning each of the pieces, Manveer begins to put them together for his sculptures and installations. With every piece that he creates, he hopes for his medium to define his work and his identity as an artist. This medium is not simply a representation of the climate crisis caused due to the ignorant dumping of plastics but at the same time, it is all the plastic that Manveer is saving from going to the large dump yards.
Futuristic Earthcore is an experimental piece of work for the artist. It was created by using discarded plastics, metal, terracotta, mirror and wood. The reverse pyramid-shaped structure represents the core of the Earth with its layer and perhaps a dystopian foreseeable future as to what the reality of this structure could be like. The layer of drought-like soil above represents what the land might look like in case of a permanent drought since rainwater would not seep into Earth due to the excessive plastic.
‘Banjar’ is a similar piece which calls at the large mound at Ghazipur also infamously known as ‘Ghazipur Hill’ owing to its magnanimous size.
As one opens Sandeep Biswas’ website, a rather disconcerting image greets you. For some, it may even trigger trypophobia. But at the same time, the image provokes you to ponder over one thought: Art is not supposed to be pleasant to the eyes or beautiful or even to anyone’s taste. It just perhaps has to ‘be’. These are the initial thoughts of a viewer.
The medium of photography is still and patient. It freezes us in a moment of contemplation.
Biswas’ works are deeply reflective and through his monochromatic lens, pushes us into a deep reverie wherein we pause to understand what ‘sustainibility’ means to us. The photographs being devoid of colour are thus intentional and speak volumes through his simple approach.
In the context of sustainability, Biswas’ spaces which feel real yet far apart from the sense of the tangible world are meant to contain one in the stream of thought which would eventually lead to sustainability as an individual exercise. Thus, this medium in itself is bound by intention. Although the medium defines artists, in some scenarios, they liberate them too.
Ritu Kamath’s art work Circadian Rhythm represents the chronobiology of nature. The work is a polyhedron with three intricately painted surfaces representing the sky, earth and water. The surfaces meet at the apex indicating how the three are inter-related. The ticking clocks on the painted surfaces attract the viewer, reminding them that the process of life – whether plant, animal or human – is an ongoing one and can last only if it is a sustainable one.
A multidisciplinary artist, Ritu’s art transcends beyond the immediate and the personal to the level of the eternal and the universal. The Noida-based artist recently has been creating work that pays an ode to mother Nature in many of her recent works and has been looking at how the error of mankind has led to degradation and endangerment of nature. Her works are precise, intricate, reflecting an experienced hand and she uses various linear techniques like stippling, fine detailing by building up the dots. Her intricate work, painstakingly drawn with microscopic detailing, reflects her patience and concentration.
Satish has been painting for two decades, he has traversed the gamut of figurative works that recall the passionate impasto, musings of Vincent Van Gogh, moving on toward abstraction which celebrates pure colour and texture. His canvases evoke a three-dimensionality and form that celebrates earth shades like a deep madder red, the aquamarine of seashore blues, solemn slate greys, and the darkened shades of a black night. Besides evoking the aesthetics of abstraction Satish also has the predilection of reclaiming and recycling waste materials that he uses to evoke the textures and evocation of the earth, its unprocessed and un-tamed curst, its warmth and its fecundity and in some cases its sublimity and the reverential interpretation of the blackness of night, the freeing sensation of the endlessness of the azure sky. His emotions towards nature are deeply associated with colour and texture of his canvases and their abstract earthy hues.
Playing upon a variety of textures and forms the works traverse from sensuous to the subtle, using various unsuspecting objects to create these textures, he has now begun to work directly on the canvas with his hands, creating a mixture of expressions that are perhaps less conscious or controlled. While he has abandoned recognizable forms in favour of pure abstraction, the recent set of works do indicate a heft and volume. The painting transitions its source becoming a being in and of itself Satish has also been moving more towards monochromatic expressions with a preference for brighter colours.
A woman who has proudly donned the mantle of an Andolan-jeevi, an activist who uses her art as a form of protest. The personal is political as the feminists have already discoursed; the personal hurt too, therefore, is political. When Shubhra terms herself as an artist, she also highlights the point that her works rise from a personal space of hurt. In this instance it was the Farmer’s Protest in Delhi NCR region which set a historical marker in India’s history. The entire experience of being a spectator, watching the horrific treatment of the farmers unfold, pushed her to create works which would be closely associated with the mediums of nature that the farmers are close to. Besides, the Indian society is extremely dependent on the farming sector, thus, unlawful biases against them shook the entire nation, much as they did Shubhra’s consciousness as well.
Her work is largely focused on the element of effect within the space of politics. Thus, sensitivity and nuance are all thoroughly placed in each of her sculptures. She is also aware that her work being ‘protest art’ might make people reluctant to having it displayed in gallery and home spaces. Yet her conviction is so very strong that it pulled her towards this very discourse in a way which is vocal and consistent in its approach.
Hailing from the ‘Abode of Clouds’, Shillong, artist Shovin Bhattarjee (b-1976) had a bit of a ‘culture shock’ when he moved to New Delhi in the early 2005, to settle in the metropolis. However, over time he adapted to the city and chose the metaphor of the sky-scraper as seen from a birds-eye-view, became a recurring motif in his artwork, and now one associates it with his artistic lexicon. He often organizes these cuboid structures in a spherical shape, that then becomes a metaphor for the world, since he plays with in the dark prophecy that the world would soon be covered by buildings and much of nature would disappear. He does however hope, like the family of birds that built a nest at the top of one of his large outdoor sculptures, hat ‘nature finds a way to co-exist’, with this metallic and concrete world.
Interestingly he also his self-portrait, within his compositions. Often find that many of his viewers and patrons actually look for his self-portrait within his work, whether it is his sculptural-installations or his paintings and digital NFT work, he finds it important to be present in his work. Arguably the artist is always a part of their art but using the self has now become his chosen ‘metaphor’, for it is not just symbolic of himself but it also represents the ‘other’. The Common Man, who can connect immediately to his work and his situation where he engages with his surroundings to discover the mystery of life,” says the artist philosophically.
Vandana, Performance Artist
Vandana is a petite, but strong and articulate Indian artiste. Interestingly the young artist has dropped her surname, as an artistic gesture against any discrimination based on caste and social background. Vandana currently resides in Gurgaon/Gurugram but originally, she hails from the small town of Bhiwani in Haryana. Her restlessness and thirst for knowledge led her to Mumbai where she did a diploma in Fine Arts. She opted to learn three languages too — Hindi, Sanskrit and English. She is proficient in mix media works, photography, sculptures, and her first “performances”. It was during this course that she met a Swiss director who invited her for a Residency in Switzerland, where she found herself becoming more and more inclined to the magic of “performance art”.
The live performance, Calling from the DARK, is a call from a space where our universe came into existence with a big bang, a space which is also known as the black hole, on another level, it is a space of dark aspect of human existence from perspective of the current environmental threat to the planet and the future generations. Banging on the gong is a way to awaken the human species from its sleep of reason into an age of awareness. Her work Calling from the DARK is especially geared towards an awakening to the environment, climate change and the endangered wildlife. Invoking the sounds of the gongs is an effort by the artist to remind as well as to make the audience remember to take action on saving the planet. The belief in the gong, a gamelan percussion and sound instrument, are rooted in Javanese and South Asian history and spiritualism with the tendency to syncretize aspects of different religions in search for a common ground. The rhythmic and non-rhythmic sounds coming out of the gong is NOT to please the audience but to put them in an uncomfortable state to make them remember the overall purpose of the show and their presence.
She completed her MFA in Fine Art from London, UK, after attending Rachana Sansad Academy of Fine Arts & Craft for three years in Mumbai, and achieving a Master’s degree in English from New Delhi following her Bachelor’s degree from Haryana, India. She has exhibited her work in India (Including New Delhi, Mumbai, Kolkata), United Kingdom (including London), Switzerland, South Korea, Thailand (Bangkok Art Biennale 2018) and Italy (Venice).
Exhibition – Google Drive
Full stack B2B trade enablement platform Bizongo will participate in the 24th edition of Fabrics & Accessories Show to be held on March 4, 5, 6 at Trade Centre, KTPO, Whitefield.
Textile hubs of Karnataka, Tamil Nadu and Andhra Pradesh are witnessing a rapid shift in MSMEs embracing technology platforms to fast track their business. Bizongo, which offers Digital Vendor Management, Supply Chain Automation & Supply Chain Financing, has seen its annual revenue run rate grow 20 times to INR 600 crore in the last 11 months from these regions. At the F&A Show, Bizongo will be showcasing some of its key digital services like production planning, order delivery timelines, payment reconciliation to help businesses do away with manual tasks.
The F&A Show draws Indian and Overseas businesses in the textile value chain to converge, network and get access to the latest developments in Apparel Fabrics, Trims, Embellishments and related Services.
Bizongo was founded in 2015 by three IIT graduates Aniket Deb, Sachin Agrawal, and Ankit Tomar, to digitally transform the fragmented and unorganized yet unique and ubiquitous B2B segment of customized goods. Today, the company focuses upon packaging, textiles, apparel & other contract manufacturing goods as its product portfolio and has a network of over 3,000 partner factories. Through its proprietary digital platforms, such as Procure Live, Partner Hub, and Artwork Flow, Bizongo offers Digital Vendor Management, Supply Chain Automation & Supply Chain Financing as key services to its enterprise customers. The B2B e-commerce platform services 300+ enterprise customers in fashion & lifestyle, pharmaceuticals, consumer discretionary, consumer staples, home & personal care, and e-commerce.
An inspiration, icon, master, and the most prominent face of Modern Indian Art – Maqbool Fida Husain has undoubtedly been one of the foremost figures in the 20th and the 21st-century. Recognized as ‘The Barefoot Picasso’, his creativity manifested itself in numerous mediums – painting, sculpture, drawing, film, and writing to build a remarkable globally-acclaimed repertoire.
With an objective to enshrine his body of work for posterity, in a category-first move, Hefty Art, an initiative by Hindustan Talkies, a new-age media content company transforming entertainment across e-sports, games, and blockchain technology, Hungama, one of the largest digital media entertainment companies in South Asia, and Polygon – the leading platform for Ethereum scaling and infrastructure development have exclusively partnered with The Estate of MF Husain, the official structure overseeing art made by India’s best-known painter, to bring his celebrated works via NFTs. The association was kick-started via an all-explainer video featuring the artist Owais Husain, son of MF Husain announcing Hefty Art, as the official NFT partner for the first-ever NFT tokens of art by MF Husain.
As the legitimate owner of intellectual property rights of MF Husain, the organization, and Hefty Art will soon be announcing its first NFT of the artist’s art piece – Fury. This much-awaited auction of true-blue collectibles would set in motion a series of drops/collectibles by world-renowned artists who would feature in the Hefty Art Metaverse. The partnership with the Estate of MF Husain fits seamlessly with Hefty Art’s vision of enhancing the engagement quotient for users as they purchase some of the most-high end artworks from renowned global artists. Hefty Art aims to establish itself as the leading curated marketplace facilitating the movement of all forms of art onto the blockchain.
Furthermore, Hefty by collaborating with eDAO, an entertainment and creator-focused eDAO, will support the growth of the Hefty Ecosystem enabling users to interact and engage with their favourite celebrities and artists. With more high-end creations in the pipeline, Hefty Art looks to highlight the richness and diversity of the art and culture worldwide.
Talking about the partnership, Neeraj Roy, Managing Director – Hungama, shared, “We are delighted to associate with the MF Husain Estate and carry forward the legacy and artistic accomplishments of the legend in the digital realm. Revolutionising how artists are seen today, NFTs represent a new horizon of possibilities to showcase their work at a global scale like never before.”
Sharing his thoughts about the association, Ashish Chowdhry – Co-Founder, Hindustan Talkies, commented, “Deepa Pardasany and I take pride in amplifying the world of entertainment with its foray into gaming and now the blockchain. The transition into Web 3.0 has opened the floodgates to a whole new world of excitement. With ideas and creations evolving, we expect their art to soar further. For Hindustan Talkies, this association allows us to back new artists and take our vision across platforms and regions.”
Speaking about the association, Owais Husain – Representative, Estate of MF Husain, said, “My father, in his enduring and prolific career, had a pulse on innovation and what was to come next. As an artist, I am pleased and looking forward to introduce my father’s iconic artworks in a new avatar via NFTs on Hefty Art. Through the sweeping breadth of his paintbrush, Husain changed the face of modern art in India, thus taking his place in history. Noticeably, I believe this move will have a similar effect as it positions itself to play an essential role in the transformation of art markets worldwide.”
After the recent announcement of Hefty Entertainment joining hands with T Series — Hefty Art is yet another vertical under the Hefty Metaverse set to define the future of entertainment.
With high spirit and patriotic zeal, India’s 73rd Republic Day Celebrations was organized at Omaxe World Street, Faridabad. The ceremony commenced with the flag hoisting by the children of Omaxe Foundation. This was followed by the national anthem that reverberated at World Street with the tricolor fluttering in the sky. The event witnessed several performances by the children highlighting the significance of the day.
Omaxe Foundation, under the leadership of its Chairperson Ms. Sushma Goel, has been working for the past 16 years at the grassroots level for the cause related to the education of children, women empowerment, skill development and others in several cities of North India. Omaxe Foundation also extends support to specially-abled people. In Faridabad, the Foundation runs a school at Omaxe World Street for the children of construction laborers, our partners in creating the city’s pride, its most iconic and loved destination Omaxe World Street in Sector 79, Faridabad.
Ms. Sushma Gupta, Red Cross Society, Haryana along with Mr. Shravan Govil, President, Omaxe Ltd., Mr. Mukesh Goel, Vice President, Omaxe Ltd. and other officials of Omaxe Ltd. were present at the flag hoisting ceremony and appreciated Omaxe’s efforts in contributing to the city’s socio-economic development.
The group of children presented the special dance and singing performances on a patriotic theme sending across the message of unity in diversity. A Kavi Samellan was also organized where Shri Dinesh Raghuwanshi and Shri Mahendra Ajnabi, through beautiful poetry, spread the message of nationalism and patriotism. The mesmerizing poems cast their spell over the audience while remembering the sacrifices of revolutionary leaders of the country. Besides, a special magic show was also organized during the event.
The heartfelt renditions aroused the feeling of love, pride, and patriotism among all and infused the ambiance with patriotic vibes. Among the participants at the Republic Day function were families including kids from nearby housing societies, walk-in and Omaxe associates.