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6th Hindi Cinema Samman Samaroh For 2022 At Global Film Festival Noida...

New Delhi: One of the most prestigious Cinema Awards of the country under the name and banner of Hindi Cinema Samman Samaroh took place during the 15th Global Film Festival Noida 2022 under the Chairmanship of renowned international film, television, and media personality of the Republic of India Dr. Sandeep Marwah President of Marwah Studios & Chancellor of AAFT University of Media and Arts.

Twenty seven important awards were presented during the global Film Festival including Hindi Cinema Gaurav Awards, Hindi Cinema Bhushan Award, Hindi Cinema Ratan Award, and  Hindi Cinema Samarthak Award to the deserving film and other personalities from Art & Culture.

Vivek Agnihotri was awarded with Sarvashresth Nirdeshak for Kashmir Files.  Dr. Anmol Kolhe was honoured with Hindi Cinema Gaurav Award. Other recipients of Hindi Cinema Gaurav Award were  Mukesh Tyagi, Shubh Malhotra, Jaswinder Gardner, Kangna Sharma, Sayali Bhagat, Rajesh Tailang, Sahil Anand, Girish Thapar, Garima Jain, Digangana Suryavanshi, Liza Malik, Suparna Moitra, Rahul Agarwal,  Brijendra Kala, and Saharsh Kumar Shukla was also presented with Hindi Cinema Gaurav Award.

Suchitra Krishnamoorti received Hindi Cinema Bhushan Award, T P Agarwal was honoured Hindi Cinema Ratan Award, Arjun Firoz Khan honoured with Hindi Cinema Bhushan Award, Himani Shivpuri also presented with Hindi Cinema Bhushan Award which are the most powerful awards of Hindi Cinema.

HE Nurlan Zhalgasbayev Ambassador of Kazakhstan received Hindi Cinema Samarthak, HE Hayet Talbi Ambassador of Tunisia also honoured with Hindi Cinema Samarthak. Others who were honoured with Hindi Cinema Samarthak included Thabang Linus Kholumo Charge d’ Affaires High Commission of Lesotho, Emile Mwepesi Charge d’ Affaires High Commission of Rwanda, Amizal Fazli Razali Charge d’ Affaires High Commission of Malaysia, and Yiannakis Makrides  Deputy Head of Mission Republic of Cyprus who was also decorated with Hindi Cinema Samarthak  during the three days of 15th Global Film Festival Noida 2022.

“Only in six years  Hindi Cinema Samman has emerged as one of the most important film awards of the country. This is the only Indian Award which is also presented to the representatives of  foreign Governments for the promotion of Hindi Cinema,” said Dr. Sandeep Marwah National Chairman Media and Entertainment Committee BIS. Ministry of Consumer Affairs Food and Public Distribution, Government of India and Board member of Board of Applied Arts & Crafts, AICTE,  Ministry of Education, Government of India.

6th Hindi Cinema Samman Samaroh For 2022 At Global Film Festival Noida

From The Streets To The Stage – The Rise Of Yatan Sharma With Unforgettable Performances...

Yatan Sharma, a young and talented musician, hails from a small town and has made a big impact in the music world. Unlike many others in the industry, he never had the plan to pursue music but it just happened. He found solace and endless joy in making music and he has been hooked ever since.

On February 4th, Yatan is set to launch his latest rap song, which has been produced by Yatan Sharma and written by himself. This song is a reflection of his thoughts and feelings, and he hopes to reach out to his audience through his lyrics. This new song is set to be a hit and will be available for everyone to enjoy on Yatan Sharma Official YouTube channel.

Music for Yatan is not just a profession but a way to heal and find peace. He believes that music has the power to bring people together and connect them on an emotional level. Yatan’s passion for music is evident in his work and he is determined to make a difference in the industry. His dedication and hard work have already made him a rising star and he is sure to go places.

Yatan Say’s  “I am a small town boy who landed in the world of Music without any plan. I am not doing this for fame. Music is just a medicine to get relief and seamless joy without any end.”

 

From The Streets To The Stage: The Rise Of Yatan Sharma With Unforgettable Performances

Laal Rang2 Newest Sequel To See Producer Sonu Kuntal’s Magic...

Sonu Kuntal, who has been associated with many well-known Bollywood films like Mulk, Raid, Paltan, Shaadi Mein Zaroor Aana has joined hands in the making of the Randeep Hooda starrer Laal Rang2 newest franchise. Apart from Bollywood films, Sonu has also given his contributions to many soap operas along with TV magnate Ekta Kapoor as executive producer.

Sonu’s brother Balram Singh Kuntal has also been very supportive. Sonu Kuntal started off his career in the best way possible by becoming an executive producer for Ekta Kapoor’s show Pavitra Rishta. He then went on to become the HOP of some popular Bollywood movies that have been the talk of the town. Sonu comes from the Bhagosa village of Govardhan, Mathura, Uttar Pradesh. The small-town boy with big goals decided that it was time he lands in Mumbai to fulfill his dreams of being a part of the ever-evolving industry. Although the journey was a struggling phase, he made it through with his wit and dedication. Now the producer is all in to work in Laal Rang 2 along with Randeep Hooda which is set to be released very soon.

Laal Rang2 Newest Sequel To See Producer Sonu Kuntal’s Magic!

THE WANDERING SHADOW An Exhibition Of Paintings By Contemporary Artist Milind Limbekar In Jehangi...

31st January to 6th February 2023

“The Wandering Shadow”

An Exhibition of Paintings by contemporary artist Milind Limbekar

VENUE:

Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda , Mumbai  – 400 001

Timing: 11am to 7pm

Contact: +91 9423680511, 8999722709

This exhibition was inaugurated by Mr. Sudhir Mungantiwar( Minister of Cultural Affairs, Forest, Fisheries, Government of Maharashtra in the presence of many art dignitaries.

The Wandering Shadow

The wandering of mind and soul needs some place to open up. My recent series of paintings has got such space to explore. The present moment, has always a dual feeling of present and absent. The missing moment always travel with us and our wandering mind gets attracted to those whom you feel shall be yours. These missing moments are what I call shadow, they are almost everywhere. The animals in the painting are representation of curbed desires, the anthropomorphic forms that appears comes from anxiousness and split personality which is subtle and dramatic. No wonder the dramatization id shown always in night scenes because they are always hidden like mystery. You have to search and understand them the most vulnerable part in my work is the expression and gestures. I still feel it as incomplete process because the concept of my painting is abstract and can be better represented in abstract manner.

———-Milind Limbekar

     

THE WANDERING SHADOW An Exhibition Of Paintings By Contemporary Artist Milind Limbekar In Jehangi

THE MYSTERY CULT An Exhibition Of Paintings By Contemporary Artist Sachin Sagare...

31st January to 6th February 2023

“The Mystery Cult”

An Exhibition of Paintings by contemporary artist Sachin Sagare

 

VENUE:

Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda , Mumbai  – 400 001

Timing: 11am to 7pm

Contact: +91 9011251869

www.sachinsagare.com

This show was inaugurated on 31st January 2023 by Chief Guest Hon. Parvez Damania in the presence of Vinita Mirchandani and many others.

The Mystery Cult

These new paintings by Sachin Sagare, like his previous body of work, arrives in a headlong rush of invention festooned upon a canny theme, in this case the female body in nature. He places groups of rural women worshippers; he names them as nymphs, dryads and goddesses into clearings in deep, dark background, thus activating irresistible tropes of an Indian painting tradition meant for royals. A more occult art comes to mind in these unkempt, unruly wildernesses, one which begins with the temple women.

The large acrylic paintings in the exhibition swirl chorus of graphically insistent folk women, white blossoms and filigreed stalks that recalls the backyard raptures of rural India. Sagare’s glades are uninhabited; their everyday ecstatic includes luminous beings, spirits of the feminine whose spare, archaic profiles float among the flowers. Faces, flowers, oil lamps and puja-thalis  are painted with a kind of folk-art zeal while the cerulean temple walls behind, solidly modeled then dematerialized by dancing layers of sprayed pigment, is appealingly contrary in color, scale and attack.

Sagare’s experimental approach to mark-making thick or thin, macro or micro, tight or loose, brushed, sprayed or sponged goes for both background and figures. In one his paintings a lone woman in a classical pose is incised in green against the mottled background like a fading figure on a krater. Also cut from traditional lines, in this case black, are five hollow women in mystery cult, who seem to be lost, while by contrast, in the other work the three women protagonists are entangled in a single libidinous squiggle of green and yellow paint that, like flesh to verges on the repulsive. Changing tactics again, Sagare gives the golden apparitions to the three women with an earthy substance. They gesture with a narrative refinement that suggests, along with their warm, coppery tarnish, the microcosmos of an old temple pillar. Sagare, however, putting the brakes on such skillful seduction according to his restless temperament, encloses this exquisite scene in a dark, seething carving on temple panels and walls as brut as the figures are delicate.

Gender critique aside, the painting’s are busy, stop-motion scenography seems like an attempt to do the uncannily naturalistic, his figures form a certain logic to the way followed. The paintings in the show, for that matter, are distinctly re-engineered for function the small paintings marvelously contain their own charm. A large work rages a preposterously scumbled orange-green, barely contained by the jutting blue and purple forms of super-cooled, super-flat conifers. As in all the paintings, however experimental, internal typology is firmly organized motifs, motifs, figures and oil lamps. In this second large, ravishing version of the theme, clamorous day has turned to mysterious night. The precisionist symbolism echoes in Sagare’s crisp and fluorescent canvases, scintillating against a nocturne of blue-violet and black. Yet rogue textures icky drips and thorny bumps interrupting the most beautiful passages remind us of art concoction.

The paintings of Sachin Sagare display an overwhelming elasticity to them. Visceral grit, orchestrated by a network of collaged material, weaves its way into more traditional painting language. Elegance is replaced with subtlety of intrusion and the tenderness of seamless collision. His figures are painted with skins that seem vividly translucent, allowing us to gaze through the stratified layers of paint. Their luminescence seems both coy and purposeful, often serving as the only rational light source.

Sagare manages to excise gender performances from his paintings almost entirely In this intentional defamiliarization of space, he begins to deflate the omnipresence of normative social structures that forcefully define how and where conventionally feminine bodies are supposed to function. In this way, he prevents us from hijacking the agency of these figures forcing us to read their bodies as texts. Denying conventional legibility and insist upon the opacity of their own historical narratives.

What I find most intriguing about this work is the way Sagare leans into this obscurity instead of privileging clarity. This playful and at times spectacular irresolution plays a significant role in his work.  Bodies are refigured as complex ensembles, brilliantly synthesizing the facility of his line, his deft paint handling, and a color sensibility.  A collection of hieroglyphic hands, heads, with an elastic relationship to one another and to the spaces they occupy, these robust and curvaceous figures at times aggressively push the limits of the picture plane and at other times are jettisoned into the constellation of body parts strewn about the canvas.

With a firm and confrontational pose, torso twisted around and eyes focused back onto us and with a full view of his bare behind, the figure entices viewers toward this conceptual edge of the painting, reminding us that our polite curiosity is not to be trusted.

We do not miss the clarity of representational narratives in these paintings. Instead Sagare presents us with a curious proposition. What if we affirm the unconventional complexity in the bodies of the women folk? What happens to gender if we decenter masculinity and femininity and consider other modes of selfexpression, displacing history to freely probe and repurpose the sources of our identity construction?  There is no rush to answer these questions here. He instead forces us to sit, wholly attentive and present with every painting. This is encouraging. 

———–Abhijeet Gondkar

   

THE MYSTERY CULT An Exhibition Of Paintings By Contemporary Artist Sachin Sagare