art in panjim

[vmingoa]

Friends,

If you have some time to spare in Panjim the next couple days, I
recommend the art exhibitions underway in Miramar and Fontainhas.
Below is a brief review (written by me) from today's ToI.

Best,

VM

--

All through the 20th century, Goa produced many of the most important
and influential artists of the subcontinent, but every single one was
forced to leave to seek opportunities elsewhere.

We know the Goa government has always ignored its own best cultural
talent. But potential art patrons - the economic elites of Goa - have
also never displayed the sophistication required to recognize the art
geniuses of their time. Generation after generation, our best artists
such as Trindade, Fonseca, Chimulkar, Pai, Souza and Gaitonde have all
been forced to seek their fortunes abroad.

The case of the latter pair of Goans - lifelong friends and arguably
the two most important modernists in Indian art history - is
particularly stark when seen from their homeland. They both struggled
to make a living right to the end. And both felt abandoned and
neglected by their own people. It is an inconvenient truth that just
ten years ago, any one of our richer citizens could have bought up
scores of masterworks from either Souza or Gaitonde for the same price
as just one imported car. But none of them ever did.

We're still not much better in 2012, as we see history repeat itself
at two impressive group exhibitions underway in Panjim. Together, they
demonstrate a new generation of artists in Goa is steadily becoming a
formidable cultural force, despite being overlooked by society. Those
looking for the next Souza or Gaitonde could find him in the ongoing
group exhibitions at Gallery Gitanjali (Fontainhas) and Ruchika's
Gallery (Miramar).

Ruchika's Gallery is the most impressive modern art space in Goa.
While programming remains intermittent through the year, its
management hosts large annual exhibitions that have quickly become the
best way to see works by a large number of Goa-based artists. Over
time, the quality has improved. 'Carnival of Colours 2012' is
unexpectedly, consistently outstanding. While young artists have
contributed some of their best work - notably Sachin Naik's immense
woodcuts - it is the senior artists who really impress.

Theodore Mariano Mesquita's 'Tempus Fugit' is the work of an
image-maker of the highest capability. Similarly, Hanuman Kambli's
untitled contribution showcases the senior artist at his very best.
Francis D'Souza's abstract landscapes were a revelation. I rate them
alongside the best Indian abstract painters work: Antonio e Costa,
even the all-time-great Ram Kumar. But the gold medal surely goes to
Sadguru Chendvankar, for the clear-eyed, rigorous 'The Beginning
Foot'. It, and many other paintings in this exhibition, should be
secured by the state for the benefit for future generations of
artists.

These very future generations dominate the exuberant curatorial debut
by Miriam Koshy Sukhijia at Gitanjali Gallery. 'WYSIWYG' is an
irresistible, obviously sincere collective effort by many of the
participating artists to experiment, to take risks and push personal
artistic boundaries. The ethic extends to the great Vamona Navelcar.
Known for his elegant line, for epitomizing gentility, the seniormost
contributor has rendered a grotesque skull-bedecked 'Ogre', a painting
that immediately recalls Angelo da Fonseca's 'Apocalypse' (a likewise
searing vision painted after a lifetime of making serene images).

Praveen Naik's 'Whatever You Desire May it Be Fulfilled' is a highly
memorable mythological future deity sculpted from papier-mache,
thermocol, plastic and wood. It's also impossible not to like Norman
Tagore's cheeky Thanda Matlab...(After Wei-Wei), a traditional mud
water vessel with the Coca-Cola logo stenciled on the side. Andy
Warhol would have smiled at this Ganvti Pop Art.

Sitting discreetly on a table at the Gitanjali gallery is the best
single work across both exhibitions. 'Ways of Seeing' is an exquisite,
intimately personal artwork by Rajeshree Thakker. A little box shaped
like a cupboard, it keeps unfolding to reveal hidden wonders. It is an
apt metaphor for art in Goa in 2012.

--
#2, Second Floor, Navelkar Trade Centre, Panjim, Goa
Cellphone 9326140754 Office (0832) 242 0785

[Ben Antao]

If I were in Goa and read such an insightful review of art exhibitions, I’d be spurred to see what was on display.

 

More than art creators, we also need art critics to explain their work to the citizens. In this, Vivek, you play an important role.

 

You don’t mention if admission to the galleries is free or not. This could be a consideration.

 

Secondly, from your experience and contacts with artists and the art scene in general, what seems to be the reason for not patronizing, that is, buying the works of today’s artists?

 

The politicians, for instance, are lakpottis. Can’t they be seduced to be art investors? 

 

All the best.

 

Ben     

[Margaret Mascarenhas]

Okay, I was under the impression that this list is about books and relevant discussions, not a platform for the self promotion of articles that have nothing to do with books, and solicitation of votes for one's own work. But, since this post has cleared the moderators, I will make a few observations on the subject of art, and art in Goa in particular:

1. Part of the problem with art in Goa is the absolutely puerile manner in which people with no applied art experience, nor art-critical, art historical, curatorial, or indeed any relevant working or academic background write about it. Art writing is not sports writing, where one assigns gold medals and cheers the "all-time greats". If I were a buyer or specially interested in art, I would want to know what specific technical, aesthetic and criteria the author applies to determine whether a work is "outstanding" or culturally significant, and what is his specific criteria in rating a work or a show, and how does that compare with shows of an international calibre.

2. Another problem is the manner in which art is exhibited in Goa: entirely without context or selection criteria. At most exhibitions, art is simply bunged on the wall in such a crowded way that it cannot even be viewed properly. With art, less is more. The works need space around them And while I'm happy that artists here are gaining increasing exposure, the shows themselves are not of a curatorial calibre that would impress serious buyers, dealers, collectors, gallerists, credible art critics in this country or abroad. We have to do better.

3. When looking for uniqueness and originality in new work, one would not be looking for the "next Souza or Gaitonde", but for something fresh.

4. All that said, I happen to own works by most of the artists Mr Menezes mentions, as well as about 50 other Goan (both dead and alive) and Goa-based artists. That is because I believe in supporting our artist community as a whole, not as an ethnic exercise. (And by the way, the most original work at the Gitanjali show was that of the curator, Miriam. Visually and conceptually arresting) There is no School of "Goan" Painting that unifies our painters in a particular style, and nowhere on the planet is the quality of an art work determined by, or discussed in terms of, what state/region of a country it is painted in, save when discussing folk art and craft. No serious art connoisseur talks or writes about "California painting", " New York painting", "Cote d'Azur painting", "Haryana painting", and so forth. It is ridiculous to do so. The function of art is to transcend boundaries not create them.

5. The life of a committed artist, especially in difficult financial times, has always been hard in personal terms. One does what one has to in order to practice ones art, and if that includes leaving, so what? Thousands of writers and artists all over the world have done it. If Souza and Gaitonde found recognition in the international sphere, more power to them. They would hardly have received the exposure, intellectual peership and recognition they did if they had remained in Goa and been happy to be bought by a few rich bhatkars.

6. Why would anyone say Ruchika's is the best art space in Goa? It's a gallery that is well lit and large, but architecturally boring. I much prefer Gitanjali as an interesting gallery space. Even the Sunaparanta galleries, though smaller, are more interesting. But the best gallery space I've seen in Goa is probably the Art Chamber in Calangute, which has the advantage of both architecture and natural light.

Margaret

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Margaret Mascarenhas is an award-winning, internationally published novelist, columnist and curator of Goan origin. http://redroom.com/member/margaret-mascarenhas

[augusto pinto]

Good honest discussion doesn't call for condescension.

Who said that?

Never mind who said it, don't you agree?

I agree but he started it first. No she did. He did! She did! He said...

He did she did he said she said - what's the difference? Unpleasant is unpleasant and that's that.

Look here you ... you can't tell us that - first you start the topic and you're unpleasant to everyone and when we do the same you can't take it, then you expect us to keep quiet! It's your fault!

My fault?? My fault??

Yeah it's yours! It's yours! Yours!!!

OK OK ... Look here let's stick to the topic.

Topic? What's the topic?

Literature!

So? This is not literature it's Art...

Art Literature... It's all the same.

Books is the topic! Books!! 

O to hell with the topic - if all that you want to do is spill each others blood go ahead and spill it - what do I care?

Hey you there, have you noticed that we're around too!! Don't we have any rights. I don't want to have all this racket going on here - it's not fair. I expect some decent conversation in this neighbourhood! I've paid good money to earn my place here. You can't go and ruin everything! And in any case don't you notice that all these people are watching! Don't you have any shame - getting at each others throats like this? And you call yourself  ...

Yes that's right! Look here!! Good honest discussion doesn't call for condescension...

Who said that...


Cheers!!

[Nazareth, Peter]

Margaret,

One of the paradoxes for artists as you have indicated--I am thinking of writers I know--is that at a certain point, they have to leave their country to create their art.  The art may have a lot to do with their country, but it has to be created when the artist is outside, for various reasons: safety, lack of distraction of the community that has its own expectations, a wider perspective than provided by one's community, etc.  In my novel The General is Up, the reader discovers from the Epilogue that Ronald wrote the novel when he left.  He discovered several writers outside his country who provided him with knowledge and a perspective through which he could deal with what he experienced in his country: Paule Marshall, Norman Mailer, Ishmael Reed, Garcia Marquez, and Christopher Okigbo.  He also meets someone connected with the publishing world who has third world experience (a Lebanese), who can bring the novel out.  In effect, he does what he heard George Kapa telling David Costa while he was serving beers at the farewell party at the Institute: to scoop out what he can when he has left and bring it home. 

There is a line in one of Andrew Salkey's poems, which I adapt/adopt: I have not gone back because I never left. 

My work goes back.

Peter

[Jason Keith Fernandes]

ah! he's a bright spark that Augusto! clever monkey!

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-----------------------------------------------------
Read my thoughts at www.dervishnotes.blogspot.com
----------------------------------------------------
"Moral panics, even liberal ones, are poor guides to the complexity of the contemporary world." David Martin

[Selma C]

I said that Augustine, and why because I was only trying to stop ben's shins from getting kicked, instead I got my stomach kicked in, for no good reason. 

Best

Selma

Sent from my iPad

[Margaret Mascarenhas]

Precisely, Peter. And most times the struggle itself informs the work of the artist or writer and makes it better. Instead of feeling sorry for Souza and Gaitonde, who are no longer with us, I believe we should instead focus on creating a better teaching/mentoring platform for young emerging artists in Goa, as well as creating discussion platforms on both art and literature that do not portray Goan artists and writers as victims.

Best,
Margaret

[Margaret Mascarenhas]

Selma, bright and compassionate light that you are, just a note: Ben is a grown man and an articulate one. Surely he can protect his own shins :)

Margaret

[Ben Antao]

Margaret:

 

As usual your observations are thought-provoking. See my responses below in red.

 

Ben

 

 

From: Margaret Mascarenhas

Sent: Sunday, March 18, 2012 8:29 AM

To: goa-bo...@googlegroups.com

Subject: Re: [GOABOOKCLUB] art in panjim

 

Okay, I was under the impression that this list is about books and relevant discussions, not a platform for the self promotion of articles that have nothing to do with books, and solicitation of votes for one's own work. But, since this post has cleared the moderators, I will make a few observations on the subject of art, and art in Goa in particular:

1. Part of the problem with art in Goa is the absolutely puerile manner in which people with no applied art experience, nor art-critical, art historical, curatorial, or indeed any relevant working or academic background write about it.

 

It would be nice if newspapers had easy recourse to art historians or art critics to review art exhibitions in Panjim. Apart from you and Vivek, I don’t know of anyone else who could write a review such as that appeared in the TOI. Secondly, a daily newspaper doesn’t need an in-depth treatment of art work, which would go over the readers’ heads. Space in newspapers is short anyway and the review must necessarily be a review, not an elaborate art criticism.

 

 

Art writing is not sports writing, where one assigns gold medals and cheers the "all-time greats".

 

If I were a buyer or specially interested in art, I would want to know what specific technical, aesthetic and criteria the author applies to determine whether a work is "outstanding" or culturally significant, and what is his specific criteria in rating a work or a show, and how does that compare with shows of an international calibre.

 

If I were interested in the specific aesthetic criteria, I would visit the gallery for these details, and not expect to find them in a newspaper review.  

2. Another problem is the manner in which art is exhibited in Goa: entirely without context or selection criteria. At most exhibitions, art is simply bunged on the wall in such a crowded way that it cannot even be viewed properly. With art, less is more. The works need space around them And while I'm happy that artists here are gaining increasing exposure, the shows themselves are not of a curatorial calibre that would impress serious buyers, dealers, collectors, gallerists, credible art critics in this country or abroad. We have to do better.

 

The above is good info you’re giving. Thank you.

3. When looking for uniqueness and originality in new work, one would not be looking for the "next Souza or Gaitonde", but for something fresh.

 

Yes, I agree.

4. All that said, I happen to own works by most of the artists Mr Menezes mentions, as well as about 50 other Goan (both dead and alive) and Goa-based artists. That is because I believe in supporting our artist community as a whole, not as an ethnic exercise. (And by the way, the most original work at the Gitanjali show was that of the curator, Miriam. Visually and conceptually arresting) There is no School of "Goan" Painting that unifies our painters in a particular style, and nowhere on the planet is the quality of an art work determined by, or discussed in terms of, what state/region of a country it is painted in, save when discussing folk art and craft. No serious art connoisseur talks or writes about "California painting", " New York painting", "Cote d'Azur painting", "Haryana painting", and so forth. It is ridiculous to do so. The function of art is to transcend boundaries not create them.

You obviously are a serious art collector and art connoisseur. How about sharing an essay or two you’ve written about art exhibited in Goa? I’d love to benefit from your perspective. 

5. The life of a committed artist, especially in difficult financial times, has always been hard in personal terms. One does what one has to in order to practice ones art, and if that includes leaving, so what? Thousands of writers and artists all over the world have done it. If Souza and Gaitonde found recognition in the international sphere, more power to them. They would hardly have received the exposure, intellectual peership and recognition they did if they had remained in Goa and been happy to be bought by a few rich bhatkars.

 

Again, I agree with your point of view. Again, Goa is a small place for writers and artists. That’s one reason why many emigrate.

6. Why would anyone say Ruchika's is the best art space in Goa? It's a gallery that is well lit and large, but architecturally boring. I much prefer Gitanjali as an interesting gallery space. Even the Sunaparanta galleries, though smaller, are more interesting. But the best gallery space I've seen in Goa is probably the Art Chamber in Calangute, which has the advantage of both architecture and natural light.

Margaret

[Selma Cardoso]

Dear Margaret,

There is something about grown men getting beaten up that invokes the Madonna in me, which at other times is blissfully absent :-) That said, I am learning valuable life lessons on Goan forums, primarily about shins, my own and other people's :-)

 

warm regards,

selma

From: Margaret Mascarenhas <margaret.m...@gmail.com>
To: goa-bo...@googlegroups.com
Sent: Monday, 19 March 2012, 5:57
Subject: Re: [GOABOOKCLUB] art in panjim

[Margaret Mascarenhas]

Thanks, Ben. Here's the thing. If this article were merely a review of 2 shows --at Ruchika's and at Gitanjali, and had limited itself to that, it wouldn't have attracted my attention, but it tries to be more--to be a kind of definitive word, and there it completely fails. Any article presenting a picture of the nascent art scene in Goa to the outside world, needs to be inclusive and generous. This article completely ignores a number of others working in the field such as Kala, Art Chamber, Art Escape, Sunaparanta, International Centre, Subodh Kerker's promotion and installation work with young artists, Theodore Mesquita's Vice Versa and residency program, etc. I find coterie behavior reprehensible and irresponsible when presenting the world at large with a picture on the Goan art scene. It bothered me at the time of the Aparanta show, where so many of our local artists were ignored due to favoratism (that too, using tax-payers' money), and it bothers me now. Just because one has access to TOI and likes art, doesn't necessarily mean one is the best person to write on art, especially if one is biased, ignorant or both, and essentially viewing it from a limited and ethnically communal place. 

Secondly, I am profoundly bored with Goans, whether writers or artists, being portrayed or portraying themselves as victims. Whiners bug me. I knew FN Souza personally from when I worked at Marg (and from his frequent prone position on my cousin Pandit's sofa in NY), and I own some of his work. As an artist he was brilliant, and as an art writer he made many interesting observations, but as a person (though always pleasant to me personally), he was often insufferable and offensive, and that may well be at least one of the reasons his rich Goan compadres may not have felt like supporting him. People have the right to buy and support whomever they like, and it is absurd to berate them for not doing so. Instead of blaming others, we should buy them ourselves, if buying is the agenda. In any case Souza and Gaitonde are dead, and we need to focus more on the living, particularly young artists. If Goan and  writers and artists are being ignored by the mainstream we should be looking at whether this is because the work is not mature enough yet, and how to help young artists evolve.

Finally, I would be happy to share articles by me on art and the art scene in Goa with you privately, but not on this list.

Best,
Margaret

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[Selma C]

There are two points which Margaret makes which I want to re-emphasise here. One is, we must stop perpetuating this myth of Souza being the misunderstood genius exiled and forsaken by his country. I have been researching Souza's life for the past two years and have interviewed several close family members. The reasons for his departure are very mundane indeed which I won't get into here.  Of course Souza created this myth about himself but we have to examine his life with more rigour and less sentimentality. 

Secondly, Margaret is absolutely right when she talks about coteries. Whether it is writing or art there seems a need to create these in Goa. Shins be damned now...I am going into foetal position as we speak.

Best,

Selma
Sent from my iPad

[Ben Antao]

 

Thanks, Margaret. Your responses are sweet and reasonable, which I appreciate very much.

 

Now my curiosity is sharpened to learn more by reading your essays on art that you may email me privately.

 

Have a good week.

 

Ben

 

From: Margaret Mascarenhas

Sent: Monday, March 19, 2012 5:56 AM

To: goa-bo...@googlegroups.com

Subject: Re: [GOABOOKCLUB] art in panjim

 

[sandra lobo]

Are not art, literature, academic markets everywhere  run by coteries? Are these markets subjected to "objective" rules, is there a "cartilha" (an incontested set of criteria) which ensures us that "excellency" is recognized wherever is it to be found? Isn't "location" fundamental in the creation of oportunities of recognition? Having said that and considering that our efforts should focus in fighting against this status quo, I do agree with Margaret that lack of sofistication or self satisfying provincialist condescendence doesn't help to break walls. As for the idea that newspapers are incompatible with a sophisticated approach we have the example of some of the best newspapers in the world to deny it.
 
best,
 
Sandra

---

Subject: Re: [GOABOOKCLUB] art in panjim

From: lescar...@yahoo.com
Date: Mon, 19 Mar 2012 11:42:33 +0000
To: goa-bo...@googlegroups.com

[Margaret Mascarenhas]

True, Sandra: coteries exist everywhere, including, and perhaps especially, the art world, and yes, that doesn't mean we can't call them what they are, and campaign against them when we see them.
And I agree with you that there is no incontested set of criteria set in stone when reviewing artwork, but when reading such an article, I would like to know precisely what the author's own criteria is for pronouncing something good or the best; i.e. something beyond the personal preference of the writer. Also, another problem we have here in India, not just in Goa, is a complete absence of critical thinking and writing when it comes to art: while there are plenty of literary and film critics in India who do not hesitate to review a book or film, analyse it, and pronounce it bad if they think it so, almost never do we see an art critic in this country come out and say that an art work or a show is lousy or indifferent, even if it is. This is largely because of the blurring of the line between those who are materially/commercially invested in art (gallerists, dealers, and the artists themselves) and curators, critics and others who write on and about art. Often enough there is a quid pro quo.

 

Best,

Margaret

[jose]

I find Vivek's essays very informative. We have very few art critics and writers based in Goa, so any good writing on art is always welcome. The more the merrier. We can always make our own judgments after perusing all the available written pieces. Ever since Vivek's return to Goa, he has added tremendously to the writings on art in the local media as well as national periodicals, thus enhancing awareness of Goan artists and their work. I think that's a good thing.

Regards

Jose

[Margaret Mascarenhas]

Actually, we have no art "critics" in Goa, at least not practicing ones. Art criticism is a specialised field and it involves actual critique: technique, style, application, originality--what distinguishes the work, good and bad. And, as I have said, there is no such thing as "Goan" art, any more than there is Bihari art, Punjabi art, and so forth. There is nothing distinctive that makes it Goan. There is only art produced in Goa, by Goans and non Goans and art produced by artists elsewhere who happen to be Goan. Abhay Sardessai is a Goan. He is the editor of Art India. He comes to Goa frequently. Surely if there was something that distinguished  "Goan artists" as a stylistic school he would have noticed.

Best,
Margaret

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[augusto pinto]

Arguably there was no such thing as Goan literature until Peter Nazareth edited the issue of The Journal of South Asian Literature that has now taken the shape of Pivoting on the Point of Return: Modern Goan Literature, Broadway Book Centre and Goa 1556, Goa, 2010. Perhaps Peter would like to tell us more about his way of seeing.

Cheers
Augusto

Augusto Pinto
40, Novo Portugal,
Moira, Bardez,
Goa, India
E pint...@gmail.com or ypin...@yahoo.co.in
P 0832-2470336
M 9881126350

[Margaret Mascarenhas]

Hi, Augusto, I'm going to say this once and then I'll put it to bed as I need to prepare what I'm going to say to launch the Hindustan Times book club in Bombay next week, and leave for a residency to get on with the writing of my new novel.

Peter is an established authority in his field, and would be accustomed to academic challenges. If anyone, including Peter, were to use the term "Goan" as an ethnic tag or to identify it as a literary genre, I would definitely challenge that. If Peter were to claim that there is some kind of insidious conspiracy against writers who ethnically identify as Goan, or imply that they are being ignored by the mainstream on ethnic grounds, I would challenge that as well. If Peter were to piously whine that the Goan elite is somehow responsible for the failure of any resident of Goa writing fiction in English and who identifies as ethnically Goan , to be published by a mainstream publisher (with the sole exceptions of Victor Rangel Ribeiro and myself), I would challenge him vigorously. 

What I would not do is this: pretend to be a definitive authority or "critic", when I am not; turn a review into a histrionic rant and publicly berate people for not "buying" local artists while rarely, if ever, buying myself even though local art is totally affordable (incidentally Raj Salgaocar has spent crores of rupees to create a centre for the arts in Goa and offers a 25 lakh per year endowment to the centre which has a residency program, a film club,a clay sculpture and pottery studio with a kiln, regular workshops, lectures, collaborations with major galleries in India and abroad, etc. It is an outright lie that  wealthy Goans have not bought Souzas, Gaitondes, Chimulkars etc for their private collections. I have seen them. And just because Vivek Menezes has not been invited to view these private collections doesn't mean they don't exist. They are private collections. I would not refuse, although invited, to attend exhibitions where I am not the curator or organiser and also ignore these when I write about art, as well as ignore the efforts by number of people/orgs who have contributed greatly to the promotion of art in Goa well before I even arrived in Goa (Heta Pandit with the amazing Fontainhas Art Festival that ran for 3 years; Subodh Kerkar who has always generously offered space at his gallery to emerging artists of Goa for over 20 years; Fundacao Oriente which constantly sponsors artists and writers; Diviya Kapur who has done an amazing job of promoting both art and literature in Goa through Literati; Nandini Sahai and the International Centre which has sponsored a number of art-related events; Apurva Kulkarni, who is one of the best mentors in Goa, working out of Gitanjali; Miguel Braganza, who held the first art festival ever in Mapusa; Bal Mundkur and the creation of the Museum of Christian Art; Victor Hugo Gomes and Goa Chitra; Rudy Kammermeir of Art Chamber, who has also contributed for many years to the exhibition of Goa-based artists; Prasad Loliekar, the Director of Art and Culture who has done an amazing job of bringing attention to Goa's art scene; Theodore Mesquita, who created the Goa Art Forum and who now has created the international residency program, Vice Versa; etc. I would not be writing about Souza and Fonseca in the same sentence, comparing Navelcar with Fonseca stylistically, and so forth. What I would also not be doing is whining in a national newspaper that no one save myself has noticed art and artists in Goa. I would not be using this list to flood it with links to every article I write, every fiction piece or memoir that is published, every interview of myself, review of my work, review I have written, every show I curate, etc. After a point this becomes tedious.

Unfortunately, art and literature in Goa, and in India, unlike in most places around the world, have not run parallel in modern times as movements or as academic discourse. In general, even the language employed to articulate developments in art by academicians is literary, because the movements have traditionally been parallel. In India, the discourse on literature is far more evolved than that on art, which seems to be in a time warp, stuck in deconstructionalist (Derrida, Foucault, etc) theory which I was studying 30 years ago in college. It hasn't moved much beyond that, though it is finally on its way. This year, catalogs documenting the work and personal statements of over 50 Goa-based artists were distributed at the Art India summit in Delhi by Sunaparanta's advisory board chairperson, Dr Saryu Doshi, art historian and former Director of the NGMA Mumbai. This advisory board, of which I am the convenor, incidentally, also includes Dr Vidiya Dehejia (art historian, professor at Colombia University), Pheroza Godrej (Major collector and owner of Cymroza Gallery, among others. They all believe, as I do, that art in Goa, with a few exceptions (Vamona Navelcar, whose work is at the Tate; Theodore Mesquita, Hanuman Kambli, Viral Naik, and a few others, is still weirdly disengaged from the mainstream and not fully evolved, that more mentoring support and residency opportunities need to be made available, that Goa has the potential to become an art hub and is already slowly becoming a literary hub.

Best,
Margaret

[augusto pinto]

Dear Margaret,

I'd like to say that I think we should make you angry more often.

Just look at the extraordinary list of people about whom you have said some extremely nice things in your letter. Among them:

 

Victor Rangel Ribeiro, Raj Salgaocar, Heta Pandit, Subodh Kerkar, Diviya Kapur, Nandini Sahai; Apurva Kulkarni; Miguel Braganza; Bal Mundkur; Victor Hugo Gomes; Rudy Kammermeir, Prasad Loliekar, Theodore Mesquita, Dr Saryu Doshi, Dr Vidiya Dehejia, Pheroza Godrej, Vamona Navelcar; Theodore Mesquita, Hanuman Kambli, Viraj Naik.

They would make an excellent page 3 line up, they would, but the problem is I don't think any of them would have come up if it were not for just one person - Vivek Menezes.

Frankly the amount of energy you've showered upon him is absolutely amazing - in this thread itself 4 letters if not more - and if you count older exchanges, well I'd say this is nothing short of a grande passion. And as in an old meaning of the word this passion is evidently causing a lot of suffering.

I'd like to warn you that on a subject that isn't really that hot,  you're beginning to sound increasingly doleful. In the meanwhile you've done an immense amount of good to his career. Seriously. I mean he may not like it but in a perverse way it definitely does wonders to the ego.

Its clear to anyone that if MM the acclaimed articulate and may I, uncharacteristically for me say, beautiful author of Skin and The Disappearance of...is devoting so much time trying to discredit VM then there must be that something there about the lucky VM devil in the first place.

You know Margaret it's really not worth it. What sort of guy is this who can't even open his mouth and say Thank you, please, when a beautiful lady is showering on him such attention? At least I'm not going to give him any more publicity.

So do us a favour and lets leave off VM and art for a while if you don't mind. And this goes for everyone else too. Unless he actually wants to claim his 'right of rebuttal' or whatever it is called, in which case...

And you go right ahead Margaret, and launch the Hindustan Times book club next week and remember to say a few nice things about us here at the Goa Book Club (tell them to have a mailing list like ours), and remember that although we might say a few catty things behind your back its not only because we're a little jealous, but heart of hearts we're also terribly proud of you and what you have achieved.

Cheers
Augusto

[Margaret Mascarenhas]

They were all mentioned in my own TOI article, Augusto.

[Margaret Mascarenhas]

And by the way, I don't want to discredit Vivek Menezes fully, I know he has some kind of crazy passion about it all and wants to be the IT-man. I just think that in certain areas of art writing he is getting way to carried away with all this championing of dead artists business and also misrepresenting the context of art produced in Goa. I'm not so much doleful as bored. Though, my goodness, how it is that these grown men seem to need defending by such as you, is pretty funny. I mean, throw down the Gauntlet, my knight. Okay, now I really am going.

On Wed, Mar 21, 2012 at 3:46 PM, augusto pinto <pint...@gmail.com> wrote:

[George Menezes]

Dear Augusto

 

A brilliant but alas a rare example of the "art" of "Healing"

 

I love you  as much as I love Margaret and my nephew Vivek

 

God bless you

George