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A man devoted to digging out the glory of India and showing it to the world on film, the founder of Krishnaswamy Associates boasts an oeuvre whose scope and depth can educate as well as boggle the inquisitive mind.
In 1931, K. Subramaniam, albeit trained professionally as a lawyer, took to the immensely powerful medium cinema to experiment with and used it as a tool to spread social awareness.
Seva Sadanam, a picture produced by him as soon he entered the field, was to be the vehicle to carry the message about the state of women and their dismal position in society. Based on a novel by Munshi Premchand, it highlighted the plight of a young girl married to an gentleman old enough to be her father. Scenes and dialogues unprecedented in this medium were posited in the film, and it propelled Subramaniam into the arena as a champion of social causes. When the freedom movement started by Gandhiji gained momentum, Subramaniam jumped into the fray and released his much
Ancient Future Asks Whether We Truly Live in Unprecedented Times
A group show at The Third Line, Dubai, featuring Sophia Al-Maria and Farah Al Qasimi, explores the nostalgia that comes with temporal dislocation
Taking its cue from a weary phrase that the pandemic has bleached of all meaning, ‘Ancient Future’ asks whether we truly live in ‘unprecedented times’. Featuring powerful works by 13 artists, the show attempts to reconcile different approaches to chronological displacement.
Huda Lutfi’s painted collage,
Suma’s Mandala, Series 4 (2008), is a cyclical ode to Uum Kulthum, the great 20th-century Egyptian singer. Replicas of her steely face bob around a cut-out of a six-armed Nefertiti with noxious green skin. Lutfi’s exemplar of femininity sits alongside Farah Al Qasimi’s inkjet print,
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