Previous Frames | | Verve Magazine

Author Zaral Shah.

Photo by Joshua Navalkar

Drawing inspiration from memories and experiences that spanned 20 years, Gaurav Ogale’s integrated radio piece name describes the world as a masterpiece from the many windows that have been a refuge for many years as they have moved from city to city. Produced by talented artist Farah Mulla, this piece was born as a response to the show’s main theme Self-Movement: Among the meanings, myths and wonders, Sponsored by the Sarmaya Arts Foundation.

Ogale’s work often focuses on bringing happiness and displaying our writings: “My magazines have relied on me for many years because they travel with me, have been with me as observers. because it is based on real-life stories and experiences, it is also true of stories, which give hope. ”

Currently the visual and design head of the Sarmaya Arts Foundation, Ogale sees the museum as a place that is home to our great history. “As people who visit or interact with museums and their artifacts, we all interact with them in exploring our archeology. The tools we use to tell each story are from history …,” he shares.

At a time when the media and platforms have become a repository of accounts and shared stories, the art exhibition and museum exhibitions are being further enhanced by a number of technical-led approaches as the general public adheres to the epidemics. Comparing the pros and cons, Ogale explains, “Today’s audience is watching the news little by little, what they want to keep and revisiting in the future; the digital medium gives one the freedom to immerse oneself in the news. In the post-epidemic world, more and more connected technologies, I think we all want to go and touch and feel things and shapes and see them as they really are. ”

In private conversation with Confirm.

What a creative mindset in creation name? How did you choose the pieces?
When Pavitra Rajaram [Brand custodian at Sarmaya] and Paul Abraham [Founder at Sarmaya] I sent this to Farah and I, I want to remain immovable and the story of the show, which deals with the identity, migration and migration of all races. I wanted to explore the interest I have had since childhood – about inheritance and ownership. As a result, I wrote authentic memories, from my childhood at my grandparents’ house in Ogalewadi and moved to cities and lived outside the boxes in Bombay and Poona. The windows from these places were always my refuge, and I wondered what I had when I changed places. Is it the memories a person makes in the air or what we see from across our windows that reflect our invisible and fluid boundaries?

The duration of your video, which represents some of these memories and experiences, spanned more than 20 years from the end of the 90s to 2021. What made you decide on the things you want to show?
I see cities, rental houses and views as of things that are not connected to the sky. For example, for me, Bombay as a city is about to become known in the midst of turmoil. When I think of the city, I think of the people who live in the mud and part of the Arabian Sea. The stories I remember from my grandparents have been with me not only in words or phrases but also as chairs – a matching cupboard that traveled with our family through the ages. This cabinet, for me, appreciates all of our conversations. These monks represent the funniest and closest things that come together in places I’m not sure I own at all.

You agreed with sound artist Farah Mulla in comparison. How did you choose the different words that sound? Are the songs of birds, nature and the sound around them true to your experience and how they interact with these shows?
It was very important for me to connect with an artist who was able to interact with these memories through their lenses. I have known Farah for a long time, and the privilege we have is that we know our strengths and our feelings for the place and the memories of it all. We had a number of long conversations where I explained in detail the words that had been with me. Her appearance was just her thoughts, and Farah still preserved their voices, their vibrations and their voices as they live in my memories. I feel like this is because he, too, has acted on the show of his own free will.

Which of the six tasks was most difficult to handle? What about the work?
Everywhere, since this is my first time photographing Sarmaya and the first time I did something in the museum, it was fun and exciting in many ways. What happened was that I was making a piece from my archeology, which is also part of a multicultural archive.

The hardest part would be a piece MHADA. Because I have lived in the MHADA (Maharashtra Housing and Area Development Authority) house in the early years of moving to Bombay, I have vivid memories of the place, the people around me and the kind of conversation and voice that surrounds me. The story I have described here is one that is on the quiet side, that is not interesting; It’s about my interpretation of someone else’s life, which is why it was hard for me to combine my curiosity with what I saw and saw in those homes – difficult lives in a stressful environment. Who is known and who can be he recited. It takes us to Ogalewadi in the early 90’s, a small village south of Maharashtra. These are memories from my grandmother’s room, where the window cupboard stood in the corner. Although there was a large window on the nearby wall, the cabinet was my global window. I remember making hands and passing machardani [mosquito net] then see its shape in the cupboard mirror. My grandmother’s story about Claude Monet’s garden and the lotus he lived with for a while. In this story, it is interesting to see the lotus that appears on the screen and move in and out of the story.

You can tell us more about each of the six topics, as well as why you decided to order this show. name?
Majha means “my” in Marathi, which is my language. I often think about how we use the word freely and assure ourselves of our own personal opinion. We live in rented houses but call them our homes; we look at the other side of the Arabian Sea from our homes in Bombay and think it is ours; we build places, claim them as our own – physically and emotionally. As we continue to move emotionally, do we stop and ask, do I have this?

First piece, gulaab, referring to my grandfather’s garden, which I could not see through the window because I was a child. And so I wrote myself around the scent of flowers, the only thing I felt was standing at the window and raising my fingers.

he recited it was the name my grandfather gave me – he never called me Gaurav. This piece is about a wonderful world that he made for me in a secret place in the world – Ogalewadi.

c / o Uyire Uyire I mean I call Bombay my house but I don’t have a house here. I am also referring to the randomly written agreements between homeowners and occupiers who register and establish ownership conditions.

MHADA it has to do with the stories I have seen when I was in the MHADA house.

forgiveness I am also different from the end of space and talking about my body and my hands as space. Almost every time I pull the curtains and look at the world, I find comfort and play with my little nephew and create shadows on the window.

with love answers my curiosity about “who will receive my magazines?” If so, should they be able to recall the memories and read my disapproval notes? How do we define a legacy of archeological heritage?

Generally, what is your favorite medicine and how does it affect your skills?
My favorite tool is the clever drawings I make in my newspapers, but the filmmaker in me always thinks of the monitors, the words and the frames, and I just combine the space with surreal imaginary objects. I feel free to work with the things I remember, and reflect the shape and form of them.

Following this link, can you think of additional accountability for your future projects? What role do you think this phrase plays in the process? What do we expect from you in the coming months?
Lately, I’ve been trying to make short stories because I find them easy to understand as a genre; it allows the viewer to skip and get out of the story and sometimes to participate.

The visions come back to me with the words; I don’t think so many times about noise. It is central to my imagination as an artist and a writer. I enjoy watching the surrounding noise, and while working on this project, Farah and I thought of many words that make our space as it is.

In the coming months, you will see the experiments I have been doing and the list of listeners, as well as the many interesting stories we have been working on in Sarmaya – talking about the missing material things we have stored are the most important part of popular culture and part of our history.

Majha and Shifting Selves: Among the meanings, myths and legends, created by the Sarmaya Arts Foundation are exhibited in Tarq, Mumbai until August 28, 2021. It can be viewed online Pano

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