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| The
macro vision of the Centre is manifest in a series of fundamental
concepts, relating to the role and context of man in the universe and his
relationship with the cosmic order. These universal concepts have
been explored and projected through a series of exhibitions namely; Kham
(Space); Akara (Foram); Kala (Time); Prakriti (man in Harmony with the
Elements); Rta-Rtu (Cosmic Order and Cycle of Seasons) and Rupa-Pratirupa
(Man, Mind, Mask). The above exhibitions reflected a cross-section
of the world-view on the related subjects and delved deep into the meaning
and quest amongst several cultures as projected through their artistic
expressions.
The other highly researched exhibitions
have been on the themes of great relevance in the study of all the
arts. The paintings and engravings preserved in the caves and rock
shelters capture and record man's experience of life and also art itself
were brought out in the exhibitions on Mogao Grottoes of Dunhuang that
lies on the famous silk route and has been a gateway between India and
China for countries, projected through reproductions of paintings from
these caves, making the first attempt to establish a direct dialogue
between scholars of these two nations who have spent their life time
studying the cave art of Dunhuang and Ajanta and Deer-in Rock Art
focussing on primacy manifestation of man's creative urges.
In the course of history, certain regions
have developed into cultural centres attracting people's attention from
different parts of the world for uniqueness of their culture, monuments,
temples or mosques. Often a temple or a mosque is the physical or
notional centre where centrifugal and centripetal forces are evident in
their architecture. Projecting these were exhibitions, Dialogue in
Stone-a comparative enumeration of architectural elements of Brhadisvara
and Govinda Deva temples was effectively presented and Earth and Eternity
was another such exhibition of architectural drawing of Brahadisvara
temple.
Exhibitions highlighting the artistic
expression of different life-styles in India were: Sungkong: Call of the
Log Drum based on the life style of Nagas and Rabari-the pastoral
community of Kutch as seen through a photographer's eye and axpressed
through the creativity of women-Rabari Embroidery. India's
traditional art of kolam and rangoli in different parts of the country
were highlighted through exhibitions of photographs by Martha Strawn and
Jyoti Bhatt respectively. The artistic articulation of temple
culture, so uniquely brought out in the art of Sanji was projected in an
exhibition Vraja-the playground of krishna. The centre has also
organised exhibitions on traditional forms of theatre as brought out
through shadow puppets Chhaya putul and masks.
In the area of paintings, the IGNCA has
provided forum to both traditional and contemporary expressions.
Traditional Paintings Thankas as seen in the rare scrolls from Stock Place
Museum, Ladakh and the unique Kalamkari style as applied to
representation of the panchatantra stories; the exhaustive scroll painting
on the epic of Mahabharata Chitravali by Santokba Dudadh; Dreams and
Visions-an exhibition of the works of the Brunners, the mother-daughter
team who were inspired by India and settled in his country: to
contemporary paintings of Icons by Shuvaprasanna and portraits and
Miniatures by Bhimarao Murgod.
Several exhibitions of photographers are
periodically held. In this series are: 'The Legacy of Raja Deen
Dayal', an exhibition mounted from the collection of glass-plate negatives
of India's most accomplished photographer of the 19th century followed by
works of Henri Cartier Bresson; David A Ulrich; Franscisco D'Orazi Flavoni;
Martha Strawn; Robyn Beeche and Sebastiana Papa and Indian photographers
like Shambhu Shaha, Jyoti Bhatt, Sunil Janah, Ashvin Mehta, Ashok Dilawli,
Sunil Adesara and contemporary photographers like Gurinder Osan, Dinesh
Krishna and late Pradeep Bhatia.
The cultural fabric of India has been
enriched by decontinued assimilation of several cultural influences over
the centuries. It therefore becomes necessary to study the art and
culture of regions around our country. In this connection the IGNCA
collaborated with several other diplomatic organisations to organise not
only the aforesaid exhibition of Mogao Grottoes of Dunhuang but also
exhibitions of contemporary Australian Textile Design. The Kalevala,
the National Epic of Finland was projected in an exhibition with
comparison from the Tulu Epic of South India. A photo documentary of the
Austrailan aborigins, the changes and influences projected through the
works of a hundred photographers some Children of the Dream.
Mati Ghar (IGNCA
Exhibition Gallery)
This structure was built in 1990 for the
exhibition Kala (Time). This is a unique example of application of
sustainable building technologies. The design of the building represents
three most significant attributes of time: cyclicity by its circular form;
arrow of time by the top cylindrical diameter terminating at two small
domes and spiral of time thorough two staircases strategically placed. |
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Rules
& Regulations |
| 1. |
To
make the Gallery available to larger number of artists it has been divided
into four portions:
|
Gallery
A (First Floor) |
915 Sq. ft. floor area |
2070 Sft. wall area |
| Gallery B (Ground Floor) |
2440 Sq. ft. floor area |
3385 Sft. wall area |
| Gallery C (Ground Floor) |
2440 Sq. ft. floor area |
3115 Sft. wall area |
| Open Display Area |
Space around the Mati Ghar |
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| 2 |
Receipt and
Selection of Application for Booking: |
| 2.1 |
Applications
for booking the Gallery shall be received on the prescribed form.
The application must contain information about the nature of the
exhibition, contents of the exhibits, associated activities proposed to be
held and name of the Chief Guest proposed to be invited for inauguration. |
| 2.2 |
Member
Secretary, IGNCA, may give preference to the applications from
distinguished, recognised or promising artists. |
| 2.3 |
Preference
may also be given to those who have not exhibited their works in IGNCA
earlier. |
| 2.4 |
No
artist or group of artists would be allowed second time allotment during a
year. |
| 2.5 |
Decision
of the Member Secretary, IGNCA shall be final and binding in regard to
allotment of the galleries. |
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| 3. |
Charges
and Facilities: |
| 3.1 |
Allotment shall be done in blocks
of 12 days. |
| 3.2 |
Charges
towards electricity, maintenance and other expenses shall be levied as per
details given below:
| 3.2.1 |
Entire Mati
Ghar, comprising Gallery A B C and open Display Area |
Rs.
80,000/- |
| 3.2.2 |
Gallery A,B,C
& Open Display Area |
Rs.
20,000/-
each |
|
| 3.3 |
The
Amphitheatre would be available for any inaugural function or performance
if any, during the exhibition at a lump-sum of Rs. 2,000/' per day. |
| 3.4 |
Security
Deposit of Rs. 3000/- (refundable) to be paid alognwith the booking
amount. |
| 3.5 |
The
following services shall be provided without any additional charge.
| i |
Cleaning of
the Gallery |
| ii |
One table and
two chairs will be provided at the reception for visitor's book and
pamphlets etc. |
| iii |
Free parking
space at the premises |
| iv |
A store for
packing material |
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| 3.6 |
Services
on Payment
| i |
Services of a
carpenter, and helpers to mount the exhibition at Rs. 250/ per
person per day. |
| 3.6.1 |
The allottee will have to
make their own arrangements for seating, chairs and carpets and
other requirements of their programme in Amphitheatre. All
electrical connections will be done by IGNCA Electrical Unit. |
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| 3.7 |
Entry
to the IGNCA premises is free. Such parties who desire to ticket their
exhibition can do so by obtaining prior permission from the Member
Secretary, IGNCA. They will need to pay 10% of gross receipt to IGNCA. |
| 3.8 |
On
receipt of letter of allotment, the payment must be made by the allottee
immediately. All payments must be remitted by Bank Draft/Account Payee
Cheque (of the recognized bank) payable to Indira Gandhi National Centre
for the Arts, New Delhi. |
| 3.9 |
Security
: A general security of IGNCA campus is available. However, the
institution shall not be responsible for the exhibition or any original
material such as paintings. photographs, sculptures etc., which may be
used in the exhibition. The manning of the exhibition will be the
responsibility of the client hiring the space. |
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| 4. |
Cancellation
: |
| 4.1 |
In case
payment is not received by the date specified in the letter of the
allotment, the allotment made shall stand cancelled and no further
correpondence on the issue shall be entertained by IGNCA. |
| 4.2 |
In case
of cancellation the following deductions would be made:
a) 10% in the event of cancellation uptill
a month before the exhibition.
b) 25% in the event of cancellation
less than 15 days.
|
| 4.3 |
The
Centre reserves the right to cancel any allotment by giving one month's
notice prior to the due date of start of exhibition. In such cases the
entire amount deposited by the artist shall be refundable by IGNCA |
| 4.4 |
"Alternative
dates may be offered by IGNCA to those failing to allotment for the period
they sought. |
| 4.5 |
Request
for allotment may be sent to Programme Director Kaladarsana. Member
Secretary reserves the right to accept/reject the request for allotment.
Allotment cannot be claimed as a matter of right. |
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| 5. |
General
: |
| 5.1 |
A clear
information on the nature of exhibition, associated activities with the
exhibition including details of invitation cards, name of the Chief guest,
number of exhibits etc. should be provided to 'Programme Director'
Kaladarsana. However, this
is not for publicity. |
| 5.2 |
The
Centre reserves the right to disallow any work or printed material etc.
being displayed by the artist if Member Secretary, IGNCA considers it
objectionable or against the interest of IGNCA. Twenty catalogues to be
given to IGNCA Library |
| 5.3 |
No food
or beverages will be allowed inside the Mati Ghar. No liquor will be
served at IGNCA premises. However, earmarked area is provided free for
service of refreshment on any formal occasion. |
| 5.4 |
During
the check out time, the allottee must ensure that the entire space is
handed over absolutely clear and no damage by way of nails, double sided
tape, adhesive etc. are left behind. Damages, if any, in the gallery will
be deducted from the security deposit.
- Exhibits must be removed within 24hours
from closing of the exhibition.
- The allottee must be ensure that his
Gate Pass is duly signed by Programme Director and handed to the
Security at the exit.
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Upper
Level Plan
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Ground
Level Plan
Application form for
Booking IGNCA Exhibition Gallery
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