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Amol Palekar | Commons
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New Delhi: The actor and stage actor Amol Palekar was interrupted midway through the speech that he had been asked to pronounce on Friday at the National Gallery of Modern Art (NGMA) of Mumbai because he was beginning to criticize the Ministry of Culture.
At the inauguration of an exhibition titled "Inside the Empty Box", in memory of the artist Prabhakar Barve, Palekar was asked to stop talking when he had blamed the department for the so-called elimination. advisory committees in the NGMA galleries in Mumbai and Bengaluru.
Here is the video.
I have just received this video from one of my favorite actors, Amol Palekar, being interrupted while the loss of 's artistic independence has been lost. ] @mumbai_ngma simply because he seemed to criticize a decision of the Ministry of Culture / NGMA.
That is what # intolerance consists of at the moment. Sad! pic.twitter.com/u8L30qeiz7
– Annu Tandon (@AnnuTandonUnnao) February 9, 2019
Here is the full text of the speech that Palekar intended to say: [1965900)] Let me start directly by talking about "THE MAN WHO HIDDEN THE AXIS" as I will describe the legend Prabhakar Barve!
It stands out from the recognizable world in terms of space while using recognizable forms; we try to deform these recognizable forms, but the Gestalt is imbibed; there is a rhythm through the fragments that are soaked in the content. The whole journey is towards abstraction; the quest is to transcend the constraints of a rational mind, but it anchors us with realistic remains of our visual world. A suggestive but interrogative construction! There are many things that are not revealed between and through what is visible! Nevertheless, what is not expressed does not reflect the world of dreams or illusions, it makes me look for what lies ahead.
I have always felt in touch with his inner world through these surrealist movements. As I continue to absorb what is revealed, I am engaged in a permanent urge to hook myself to an axis that is absent there. Although I am especially fascinated by his "Magritte internship", the contact with his inner imagery is a common experience that I felt during all his other internships.
Whenever I met Barve, I tried to search for an answer to a question. my question, & # 39; where did he hide the axis? & # 39;
When I first met him, I had not seen much of his work. It was in 1973 … after the performance of Gochee in Sarayu and the residence of Vinodbhai Doshi. As the director of the play, I was thrilled to have Jasraj, Gaitonde, Barve, Prafulla, Jitendra Abhisheki and many others in the audience. My attempts to explore spaces beyond the proscenium arc have been applauded by all. Despite the drunkenness of the "fourth act", as we called this session of drinks and discussions, I distinctly remember the aesthetic dissection of my piece. Prafulla and Abhisheki praised dhwani / son's new approach in the compact space. Gaitonde liked the surrealist treatment of the script. And Barve talked about the interaction of time and space in my production. He was fascinated by the way the piece fused the bbadity of real life with the euphoria of being existential. "I remembered Dali's" melting time "at different times in Gochee. I have never forgotten this line of Barve! Barve and Gaitonde have congratulated me for keeping the painter in me alive and active. I was upset to see Barve and Gaitonde, the most well-known reticence, talk about my work so often.
Today, we celebrate this event with great joy for two reasons. Barve's retrospective on his legendary meta-fiction work … the first time after his death, almost after 24 years, is historic in itself! Many thanks to Jesal for organizing this great event and for giving me the opportunity to inaugurate it. Thanks to the NGMA for organizing this magnificent exhibition and for giving permission to use all the spaces spread over the three floors of your magnificent vaastu .
You have to wonder why I especially thank NGMA for this retrospective. What's so special about a national gallery offering space for a well-known work of art? This brings me to my second reason why this holiday is historic! As I mentioned earlier in Magritte, I would like to quote two of his quotes. "Visible things always hide other visible things. We always want to see what is hidden by what we see. Magritte also once said, "We must not fear the light of day because it almost always illuminates a miserable world.
I speak here of the visible present. and the visible hidden below! Many of you may not be aware that this retrospective will be the last exhibition decided by the local artists' advisory committee and not by a bureaucrat or government official whose program is to maintain the moral or moral order. to favor the proliferation of certain arts corresponding to an art. ideological inclination. As of November 13, 2018, the Artist Advisory Committees of the two regional centers, Mumbai and Bangalore, have been removed. That's what I learned! I am formally informing myself about the details to verify hearsay. So far, what exhibition will take place and the space of the 2 NGMA antennas, particularly in Mumbai and Bangalore, has been chosen by the Local Artists Advisory Committee. Each committee worked for 3 years. At the end of his term, the Advisory Committee met with new members. There was a direct involvement of "local" artists in the choice of the theme / content of the exhibition, the works to be exhibited, etc. I also learned that as of November 13, 2018, all these decisions would be made in Delhi by the Ministry of Culture. As a result, at the present time, no new committees have been convened after the expiry of the mandate of the former committee, which ended on October 25, 2018. [19659005] In 2017, we were pleased to learn the project to open new branches of NGOs in Kolkata and in the North. Is; The news of the expansion of this Mumbai site was also encouraging.
However, on November 13, 2018, another disastrous decision was apparently taken: "all future exhibitions of works of art not belonging to the NGMA's collection would be awarded only on 1/6 the area in NGMA Mumbai only concerns the area of the Dome. "Does this mean that the remaining area will never exhibit new works of artists or new works of art? experienced artists beyond NGMA's own collection?
In view of this new policy, the Mehli Gobhai and Sudhir Patwardhan Retrospectives scheduled for March-April and December 2019 respectively were canceled. We must therefore thank the Almighty Ministry for not having canceled this retrospective. The sad reality is that we will be deprived of seeing 300 or more fascinating works by Mehli Gobhai who is no longer with us! What a beautiful tribute could have been made to the great Master! Sudhir, I'm sorry, no matter how talented your artist, your work and your ideology are neither loved nor endorsed by us!
Why are these unilateral decisions taken? What is the real intention behind such restrictions? Is not this another level of censorship on artistic freedom? Is not this yet another badault on the federal structure of this plural nation? The policy of broadcast and abortion of eclectic voices and artistic expression has muzzled another institution! This control over the NGMA, which is the sacred place of artistic expression and visualization of various arts, is the most recent victim of this "war against the humanities", as recently stated by someone ! I am really disturbed … where is it going to stop? This sea of freedom is declining from day to day, gradually but constantly … why are we keeping quiet? What is even more troubling is that those who are aware of such unilateral orders have not spoken, have not protested and have not even questioned it!
What would Barve have done in this atmosphere? I'm sure he would have shown us the visible hidden through the visible present. Sorry Jasel, if I've violated the decorum expected from the celebrations or inaugurations – but I think I have to speak, from where this sad note that remains!
See also: You ask me not to speak, asks Amol Palekar after being interrupted during the speech of the NGMA
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