Highlights from My Journeys in 2019

2019 was full of journeys for me, from Philippines in the east to Brazil in the west. This post is to remember the most significant moments of my travels. The first picture (below) is from a wonderful journey across Kerala and Karnataka in India - from the Chennakeshava temple in Belur.

There was a time, when I did a lot of international travel. Then over the past decade, my travelling had gradually decreased, though I still continued to visit 3-4 countries every year. However, in 2019, a number of events came together, creating greater opportunities for my travel.

Travels in India

I started 2019 by travelling to Delhi in January. During this visit, I decided to explore the expanded network of the Delhi metro. For example, one day I went to search for the Dalit Pride Park in NOIDA. On my way back, I stopped in Jamia Milia and went to visit the tomb of Dr Zakir Hussain (in the image below), who was the President of India during 1967-69.

As a child, I had met Dr. Hussain and the well-known artist M.F. Hussain at Triveni Kala Sangam in Delhi and had vivid memories of that meeting. I was curious to visit his tomb.

In January, I also went to Kerala, where in Fort Kochi I visited the Kochi Art Biennale 2018-19. The image below presents an installation by Venu V. from the biennale.

I travelled in trains and buses along the Kerala coast, going from Kochi to Mangalore and then to the town of Hassan in Karnataka. From Hassan, I visited the amazing temples of Halebidu and Belur. The first image at the top presents one of the amazing women sculptures from the Chennakeshava temple in Belur.

Back in Delhi in February, I visited the recently rennovated Sundar Gardens near Hamayun tomb. The image below shows Sundar burj from these beautiful gardens.

February was also an opportunity to visit the street art in Lodhi colony, about which I had heard a lot. It was the time when some artists were visiting the city to make new murals, so during my next visit to Delhi, I am planning to visit this area once more to see the new additions.

In March, we had a family visit to the Kumbh mela in Prayagraj (Allahabad). My cousin sister had passed away suddenly and our visit included a ceremony for dispersing her ashes at Sangam, where river Ganges meets Yamuna. This visit was also an opportunity to visit and meet persons from our extended family and our old family home, before coming back to Delhi and concluding my India visit.

Milan, Italy

Back in Italy, in early April, I was part of a conference in Milan. This was an opportunity to explore the Naviglio canal. I had been there many years ago and remembered it as an old and decaying area. With the cleaning of Naviglio, the whole place has changed completely. Now it is full of tourists visiting crowded restaurants and new glittering shops.

Liberia

In the last week of April, I was back in Monrovia, the capital of Liberia. There is not much to see in Monrovia and security concerns make it difficult to go out. I also had to run a training course, so there was not much free time. However, one early morning, before the starting of the training, I did manage a walk along the seaside.

I also travelled for a day to Ganta in Nimba county to meet some old friends. They are trying to build up a wild life sanctuary in Liberia. May be in future, one day there will be places to visit here.

Mongolia

I visited Mongolia twice in 2019. The first time at the end of June when I stayed in Ulaanbaatar and did not travel to other places. However, I did go out for different walks to discover the city, such as a walk to look at the sculptures of a camel caravan.

During the second visit, in October, we visited some provinces around Ulaanbaatar. One of the visits was to Arkhangai and on the way, we stopped to see the Buddhist monastery at Korakorum, the old capital of Mongolia during the times of Gengiz Khan (in the image below). It was a place that I had dreamt of visiting one day and the visit was really great.

Brazil - Campo Grande and Niteroi

In August I was in Brazil for a couple of weeks, first in Campo Grande and then in Niteroi, near Rio de Janeiro. In between my work commitments, I had plenty of time to go around for walks in Brazil. In Rio de Janeiro, a short ferry ride away from Nietroi, I went to different museums but my most precious experience was visiting an Ai Wei Wei art exhibition.

Niteroi is a wonderful place to stay with some of the most beautiful views of the Bay of Guanabara and the amazing skyline of Rio de Janeiro (in the image below).

Manila, Philippines

Back from Brazil and with a short break of a few days, I had to go Manila for a conference. The 12 hours time difference from Brazil, made this visit very difficult for me. I tried everyday to walk and discover parts of Manila that I had not seen earlier. Thus, I joined the visit organized by our conference hosts to visit Intramuros, the Spanish part of Manila (Fort Santiago in the image below).

Istanbul, Turkey

In October, on my way back from Mongolia, I stayed overnight in Istanbul. I have passed through Istanbul airport many times, but had never stopped there and was hoping to visit the city. However, during my one day of stay, it was raining most of the time and thus, I was forced to stay in my hotel room. The image below was clicked from the bus going back to the airport. I hope to have another opportunity to visit Turkey in the new year.

Geneva, Switzerland

Between August to October, I had travelled so much that I became unwell and had to cancel a visit to Spain. I had also made plans for a family gathering in the USA, but I was so tired of travelling that I cancelled it.

The only journey outside Italy I made was to Geneva for a meeting at the World Health Organisation in mid-November. Even during the brief stay, I found some time to go for a walk along the left bank of the Leman lake, which I like very much (image below). Unfortunately, there was not enough free time to visit the botanical gardens, another of my favourite places in Geneva.

Italy - Padova, Treviso & Venice

Veneto region of Italy, where I live, is full of beautiful little medieval towns. This year, I visited some of them such as Castelfranco Veneto, Padova, Treviso, Thiene and Vicenza (below an image from the Padova Pride parade).

In November, I also managed to visit the Venice Art Biennale before it ended. It had a couple of installations that I had seen in Kochi art biennale in the beginning of the year. The image below shows the visually striking giant installation by Lorenzo Quinn from this Biennale.

Conclusions

I am glad that I could visit so many countries during 2019, though I overdid it! My new year resolution is to have fewer work commitments in other countries in 2020, so that I can enjoy my travels more.

Already my bags are packed and I am preparing to go back to India. I want to conclude this post with an image from the street theatre perforamnce by students of Aurobindo college in Delhi, which I had seen during my last visit to Delhi - the play was about the vanishing languages of India and was called "Zubaan sambhal ke". I like street theatre plays very much and am hoping to catch some of them during my visit.

One new development in 2019 was my increasing use of phone-cameras, instead of my usual Canon DSLR. This explains the different sizes and qualities of the pictures used for this post. Carrying a mobile to click pictures is so convenient and I think that in 2020, I will use it even more.

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Fighting Superbugs

65 years ago when I was born, dying due to a simple infection such as diarrhoea or pneumonia was common. Our family history had numerous stories of persons dying young. At that time, average life expectancy in India was less than 38 years. While I was growing up, during 1960s and 70s, slowly we had become familiar with names of antibiotics like Tetracycline and Chloramphenicol. By the time I finished my medical college in late 1970s, average life expectancy had increased to 53 years, while the list of available antibiotics had become much longer with drugs like ampicillin, amoxicillin, erythromycin and gentamycin. Every year, new medicines were coming out. Occasionally we had infections which were resistant to some of these medicines, so we had started doing cultures to check which antibiotics could be more effective in a patient who was not responding to treatment.

In the last 50 years, the situation has changed drastically. Every now and then we hear of infections which do not respond to any medicine. Matt McCarthy's 2019 book "Superbugs: The Race to Stop an Epidemic" is about this subject.

Use of Antibiotics in Livestock

The first use of antibiotics in the livestock was approved by the Federal Drug Agency (FDA) of USA in 1951. They started to be used in small amounts in concentrated animal-feeds for growth promotion and prevention of diseases among the farm animals, especially in the poultry and cattle destined for meat production. They helped chickens, pigs and livestock to grow faster and put on weight. Since then, the use of antibiotics in the industrial production of meat has become routine.

Eating this meat introduces those antibiotics in our bodies and in the environment, promoting drug resistance in the bacteria. Already in 1969, a British committee of experts had concluded that the use of antibiotics in animals was contributing to antibiotic resistance in humans. Thus we are aware of this problem for a long time. However, its importance was under-estimated.

Apart from the use of antibiotics in the livestock, another problem has been indiscriminate use of antibiotics. Many doctors prescribe antibiotics for viral infections, even when they know that these are not useful. There is no control on the sale of antibiotics in many countries, so that people can buy them without prescription.

Antibiotic resistance and resistant bacteria both travel around the world, passing from one country to another. Thus, it is global problem affecting everyone and no one is safe from it.

Over the past decade, numerous cases of infections non responding to any medicine and leading to death of persons have brought this subject to the attention of general public. Extremely resistant cases of diseases like tuberculosis have appeared and are widely feared. The World Health Organisation has already issued some catastrophic warnings and asked for urgent search for solutions.

Matt McCarthy's Book

McCarthy's book on the subject of superbugs is written in an extremely engaging style. He works at the Presbyterian Hospital in New York, where they try to identify new antibiotics which can treat resistant infections. He explains the difficulties of treating superbugs through stories of individuals who turn up in the emergency department of his hospital. Reading the theories of antibiotic resistance is very different from reading about someone who has this infection.

For example, the story of a person, whose diagnosis of cancer has devastated his family. When it seems that chemotherapy might save him, a minor infection suddenly takes him close to death, unless the doctors can find some new treatment to treat it, but it is not responding to any medicine. McCarthy's book has a series of these real-life inspired stories, which start as a character sketch of the persons and their families and then reach a sudden turn of random events which turn their lives upside down, showing the fragility of our lives.

Once I started this book, I didn't stop reading it till 4 days later when I finished it. While I have known about superbugs and the problems of antibiotic resistance for a long time, the book explained the different challenges associated with it. Mixing of scientific information with human stories makes it very interesting. The book mainly moves around the human trials of a new antibiotic called "Dalbavancin" or Dalba. It also mentions some other new medicines and the persons involved in their research but most of its stories are of persons on whom Dalba is being tried.

Over the decades, doctors engaged in research for new medicines have not always behaved in an ethical manner. Recently, I was reading about an unethical research done by Armeur Hansen, who is known as the person who had discovered the leprosy bacillus in 1873. McCarthy shares the details of inhuman and unethical research done in the Nazi camps. Then he tells about another research carried out in Tuskegee, Alabama (USA), where hundreds of black men and women were recruited in a research, given false information and denied treatment which could have easily cured them, so that the doctors could study the natural evolution of the sexually transmitted infection syphilis. This had happened in 1950s-60s, years after the Nazi experiments.

The book also touches on the world of Big Pharma. For many years, I was part of a group fighting for people's right to health. In these groups, multinationals and especially the Big Pharma, is seen as villain, as they look only at their profit margins and are uncaring of the poor persons' need of medicines. McCarthy's book avoids painting the drug companies in black and white.

For example, McCarthy's explanation about insufficient research on new antibiotics and the role of the big Pharma is in the following terms:

Dr. Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases at the National Institutes of Health, is the man responsible for establishing federal funding priorities for research on antibiotic resistance, and he told me that developing new drugs is, in fact, one of his top priorities. But the situation is complicated. “You don’t want the federal government to be a pharmaceutical company,” he said, “because you’d have to build an entire industry, and that would divert away from what the government does well, which is scientific discovery and concept validation. We need a partner.”And that partner, for better or worse, is Big Pharma. “If the federal government tried to re-create Merck,” Fauci said, “it would cost billions of dollars. The expertise of production, filling, packaging, and lot consistency. People take that for granted, but that’s an art form that has been perfected by these companies, not the government.”The problem, ultimately, is that many antibiotics are not very profitable. When a new drug emerges from an idea, there’s a step-by-step process that costs upward of a billion dollars to bring it to market. If that leads to Viagra, the expense is justified because you’ve just made a multibillion-dollar drug. With an antibiotic, however, the profit margins are narrow because of three characteristics: they’re usually given in short courses, they’re prescribed only when someone is sick, and sooner or later even that terrific new antibiotic is going to develop drug resistance. The latter is not a matter of if but when. “The incentive to make major investments in antibiotics,” Fauci told me, “is not something that attracts the pharmaceutical industry, so how do you get around that?”

The book is also an ode to McCarthy's senior colleague and mentor, Tom Walsh , director of the Transplantation-Oncology Infectious Diseases Program, who seems to live only for his work and does it with great empathy. It is difficult not to share McCarthy's admiration of such a wonderful human being and professional, and wish that if one day we would find ourselves in a hospital, we shall have a doctor like him.

Apart from his skills as a clinician and researcher, McCarthy also has a way with the words. For example, he introduces Tom Walsh with the following words:Walsh is a wisp of a man, pale and thin like a potato chip, with deep-set eyes, a warm smile, and a surprisingly firm handshake. His modest features are a notable contrast with my own: I have a high forehead, broad shoulders, and a nose that’s slightly too large for my face. We make for an odd pair.

Conclusions

I love reading books about health and medicine. These give an overview of the issues in a way which is impossible in the medicine textbooks, which limit themselves to dry facts - symptoms, diagnosis and treatments. On the other hand, a good book on medicine aimed at general public, provides a glimpse into its history and how our understanding about the disease condition changed over a period of years or decades.

For example, I have been really impressed by a couple of books on psychiatry and autism, which I had read recently - they had opened the doors to a largely unknown world to me. "Superbugs" by Matt McCarthy didn't have the same impact, because I was already familiar with some the ideas and questions it discusses. However, I loved reading it and will recommend it to everyone for gaining a deeper understanding about an important subject, in an engaging way.

Note: In 2019, after writing this post I had contacts with Dr Abdul Gafoor who told me about the WHO initiative on antibiotics resistence and that spread of resistant strains through lack of sanitation was a much bigger contributing factor compared to the irrational use of antibiotics. He referred me to his article in The Hindu, from which the following excerpts are presented below:

"... back in 2010, people like me sincerely believed that AMR was caused primarily by the misuse of antibiotics by the medical community. We all wrote a few lines about infection control, but 90% of our articles, research papers was about irrational antibiotics usage. I did not write about environmental sanitation. I did not write about most of the things that I know today, because that the concept has changed over the last 10 years. At that time, we thought that antibiotic stewardship was the most important component in tackling AMR, along with infection control, and then made a mention of the importance of sanitation. Now if you ask me, what is the most important component of tackling AMR, I will say in a developing country such as India – it is sanitation. I will put sanitation right on top, then I will put in infection control, and then, antimicrobial stewardship, rational antibiotics usage - whether at the hospital or over the counter.

Why? Thanks to scientific evidence that has emerged, since, and changed our perspective. A commentary published in Antibiotics, an open access journal, recently showed that AMR rates were found ‘positively correlated with higher temperature climates, poorer administrative governance, and the ratio of private to public health expenditure.’ When a more complex analysis was done, then better infrastructure (e.g., improved sanitation and potable water) as well as better administrative governance (e.g., less corruption) were strongly and statistically significantly associated with lower AMR indices. And this is significant: the comment stated that ‘Surprising, and contrary to most current beliefs, antibiotic consumption was not strongly associated with AMR levels. This empirical evidence implies that contagion, rather than antibiotic usage volumes, is the major factor contributing to the variations in antibiotic resistant levels across countries.’"

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#bookreview #antibioticresistance #mattmccarthy

Ai Wei Wei - Later Works in Brazil

The first part of this post was about the earlier works of celebrated Chinese artist Ai Wei Wei presented in an exhibition called Raiz (Roots) held in Rio de Janeiro (Brazil) in 2019. This second part of the post focuses on his works created between 2015 and 2018, and presented in this exhibition.

The works of the artist from this period show a transformation - from his criticisms of the regime in China in his earlier works, he moved on to other themes afflicting humanity, from wars and refugee crisis to climate change. His latest works from his period in Brazil are even more personal, looking at sexuality and cultures.

Expressing Dissidence

The first works of Wei Wei after his release from the house-arrest in Beijing were understandably about the period of that arrest, though they continued to be ironic and symbolic, like the installation called Forever Bicycles presented in the image above. This installation was made from one thousand stainless steel bicycles. These represented personal freedom and its title, "Forever", referred to a brand of bicycles common in China when Wei Wei was growing up with his father in the exile.

His next work from 2015 was Blossom, a carpet made from hundreds of porcelain flowers made by joining 16 panels. This installation also referred to the period of his house arrest, when as a way of protest, he had decided to put every morning some flowers in the basket of a bicycle parked in front of his home. Thus, Blossom represents the flowers of his protest.

War and Refugees

After his release from house arrest in China, in 2015 Wei Wei had relocated to Berlin in Germany. That brought him in contact with the refugees who were pouring into Europe from the war-torn middle-east and whom the European countries were refusing to accept. Wei Wei felt the cries for help of the refugees, probably because he was also a refugee, though a fortunate one, since he had been accepted in Europe because of his celebrity status and because of being a known Chinese dissident.

In 2015 itself, Wei Wei visited the island of Lesbos in Greece and saw the shoreline littered with life-jackets and buoys of Syrian refugees trying to enter Europe. His 2016 marble sculpture Tyre is a "monument to the lost" remembering those who risked everything to seek a better life for themselves and their loved ones.

During 2016-17, Wei Wei travelled to 23 countries and 40 refugee camps. Out of these visits came his film "The Human Flow". In the same period, he also produced different other art works on this theme.

His next work on the theme of refugees is titled Odyssey and is a wallpaper which traces the stories of human migrations from the time of the Old Testament, through the pictorial techniques of antique Greek and Egyptian carvings and panels. The image below presents a detail from it.

There was another work on the theme of refugees in this exhibition titled "Refugee motif pillar of vases". It has 6 Qinghua blue and white vases, crafted in Jiangxi province of China in the antique Ming style. Like the wallpaper, the vases touch on 6 themes - war, ruins, journey, crossing the sea, refugee camps and demonstrations.

Brazilian Works

In 2017, Wei Wei visited South America many times to plan some of his exhibitions. In Brazil, he became interested in forests and specifically in a tree species called Pequi. He decided to make a mould of a 1200 years old, 31 metres high Pequi tree in a forest reserve in Bahia state. From his stay in Brazil and the enormous work related to the Pequi tree, a series of other art works have been produced, starting with the works called Raiz (Roots) which had given the title of this Brazilian exhibition and were presented in part one of this post.

The next image shows the roots part of another art work on Pequi tree, with a human figure, which gives an idea of the height of this tree.

The next image shows traditional votive wood sculptures (2018) made by artisans of Juazeiro do Norte in Brazil inspired by Wei Wei's art work.

The next image has Taifeng, a mythical creature from the old Chinese tales of Shanhaijing (the Classic of Mountains and Seas). It is made from Bamboo and silk and is inspired by the traditional Chinese kite-making traditions.

The next installation has Two Figures (2018) in white plaster - the male figure is moulded on Wei Wei himself, while the female figure is moulded on a model. Close to the head of male figure, there is a heap of Armosia seeds, which reminded Wei Wei of seeds he had seen in Gobi desert as a child. Through this sculpture, Wei Wei touched on the ostensible sexuality in Brazilian culture and to his own intense dreams during his stay in Brazil.

Conclusions

The Raiz (Roots) exhibition in Rio de Janeiro was a great opportunity to see different art works of Ai Wei Wei and thus get a more holistic idea of his art-world and artistic journey. Reading about his provocative exploits (for example, about the breaking ancient urn or covering antique vases with paint), gives a certain idea about the person. His constant rebellion against the Chinese government, but at the same time, finding a gentle and ironic way of rebelling, shows a maturing of the person. His works on climate-change and refugees, shows a widening of views where his personal journey is placed in the context of similar journeys of millions of other human beings. Finally, over the past couple of years, his exploration of his sexuality adds a personal dimension to his artistic journey.

To conclude this post, I want to present another of his personal art - a poster called Mutuophagia or the reciprocal eating, which has strong elements of the sensory and sexual world through the blood red water melons, the strategically placed bananas and the female figure on the extreme left. He is also talking about the importance of inter-mixing of cultures and learning from different cultures, which is his criticism of the current politically correct mode of looking down at "cultural appropriations".

For me, coming across the Wei Wei exhibition in Rio de Janeiro was a case of serendipity. I had no idea that it was there and I saw it just by chance. I would count it among my most wonderful art-experiences.

If you haven't already seen the first part of this post, you can check it now.

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#artinstallations #aiweiwei #brazilianexhibition #artofaiweiwei

Dissident Art of Ai Wei Wei

Ai Wei Wei from China is one of the most famous contemporary artists. His name had become known because of a couple of controversial art installations. Through his art he has brought the spot-light on the absurdities of unequal power balances in the modern world, pointing fingers at both the totalitarian regimes as well as, the so-called civilized countries. I love the art of Ai Wei Wei.

The image above shows the entrance to the Wei Wei exhibition in the CCBB atrium in Rio de Janeiro, with a couple of "Roots" sculptures which gave the title Raiz (Roots) to this exhibition. During 2017-18, Wei Wei visited Brazil, where he came across these roots of the massive Pequi Vinegreiro trees, which were once common here and which now risk extinction - this art installation of Wei Wei referred to that experience.

In August, while in Rio de Janeiro (Brazil), by chance I came across this exhibition. Visiting this exhibition of Ai Wei Wei's works was one of the highlights of my Brazil visit.

It was organized in 2 locations. However, due to my work commitments, I was only able to visit one of the locations, the Cultural Centre of the Banco do Brasil (CCBB), which had his works from the period 2009 to 2018. This is the first part of a post describing those works, covering the period 2009 to a part of 2015. The second part of this post covers his works from 2015 to 2018, including some art installations he has created in Brazil.

Ai Wei Wei's Background

Wei Wei was born in Beijing in 1957. His father Ai Qing (Jiang Haicheng) was a well known poet who was a communist party member and who had been in jail during 1930s for opposing Kuomintang. When Chairman Mao's cultural revolution started, there was a deep distrust of poets, intellectuals and thinkers and thus Ai Qing was forced to shift to a small rural comune, where his job was to clean the toilets. Wei Wei accompanied his father during 5 years of their stay in this comune.

There is a story about Ai Qing, afraid of being labelled "elite", one night burned his poetry and other books, with his son's help. This left a deep impression on Wei Wei's psyche, who was around 9 years old at that time.

Ai Qing was finally rehabilitated in the communist party in 1979. In 1981, Wei Wei went to live in New York, where he lived for 12 years and became an artist. Back in China in 1993, two years later he sparked wide outrage and became famous for his artwork called "Dropping a Hun Dynasty Urn". For making this art installation, Wei Wei dropped and broke into pieces a 2000 years old urn and the whole scene was documented in a series of 3 photographs. Through this installation, Wei Wei denounced the destruction of hundreds of old Chinese temples and buildings along with their ancient treasures during the years of Mao's communist revolution.

In 2006, another art installation of Wei Wei called "Coloured Vases" made news all over the world, when he took 39 Neolithic vases and covered them in industrial paint. With this installation, he wanted to denounce the destruction of world's habitat along with old cultures due to non-stop onslaught of humanity and commercial interests.

Even when not making international news, Wei Wei was continuously challenging the Chinese Government by criticising it through his art. In 2009 he was placed under house arrest and in 2010-11, his new art studio was bull-dozed. Some of his most subversive and dissident art came during these years. Finally in 2015, his first solo exhibition was held at Galleria Continua & Tang Art Centre in Beijing and in July 2015, his passport was given back to him. After his release, he relocated to Berlin (Germany).

Wei Wei's Works from 2009

The Raiz exhibition had two of his works from 2009, before he was placed under the house arrest.

The first one is called Porcelain Cube. It has a cube outline made from 1 metre long porcelain cylindrical tubes made according to the traditional Qinghua technique, known for their blue coloured designs. Thus, the cube itself is a negative space.

The second one is called "The Hanging Man", which has the profile of the American artist Duchamp made from a porcelain hanger. During his years in New York, Wei Wei had been greately influenced by Duchamp's works. It is a small work and you can see it below on the wall-paper art from 2015 called "The animal that looks like a Llama but is really an Alpaca" (Last image at the bottom).

Wei Wei's Art Works from 2010-2015

These are his works from the years when he was under house arrest and immediately after it.

The first one is called the "Sun Flower Seeds" & is from 2010. For this installation, Wei Wei had made millions of porcelain sunflower seeds. Each seed was crafted individually in northern Jiangxi province, an area known for its kilns where they made imperial porcelains. Initially authorities could not understand the meaning of this installation. It was recalling the hero-worship cult of Chairman Mao, who was called the Sun and people were supposed to follow their leader like sunflowers.

The sun-flower seeds also reminded about the days of political rallies called by the supreme leader (Mao), where people went with sunflower seeds in their pockets so that they could eat something when they became hungry. This kind of subtle irony and hidden criticism of the communist regime became Wie Wie's approach, which was difficult to control by the authorities.

The second one is called He Xie or the river crabs and is also from 2010. These represent the destruction of his art studio in Shanghai. When Wie Wie was told that bull-dozers will raze his studio to ground, he organized a He Xie party for his friends for an ironical celebration. The authorities were confused that he was celebrating the imminent destruction. Finally, they decided to place him under house arrest.

The installation is composed of 1000 river crabs in porcelain, each made individually. Ai explained, "In different dynasties, people used to make these crabs from jade, bamboo or onyx. In 1976, when the gang of 4 was arrested, to celebrate it many artists had made the sculptures of these river crabs." There was another subtle message in the crabs - its Chinese name, He Xie, sounds like the Chinese word for harmony. Thus, it alludes to the struggle between the authorities and the society in the name of maintaining "a harmonious society".

The third one is called "The hanger" (2011) and has cloth-hangers in different materials - steel, wood and crystal. During the house arrest he was allowed to keep only a few things, which included some hangers. These sculptures are a reference to his house arrest and thus represent an oppressive regime. These also recall similar works by some American artists like Marcel Duchamp on concept art.

The 4th is called the Mask and is from 2013. It has a mask in marble, placed on a tomb stone. Carved from a single piece of marble, this mask represented the smog covering Bejing, due to unregulated industrialization which did not respect the environment. It can also be seen as a symbol of un-breathable air across different cities of the world due to pollution, as is affecting Delhi during these

days.

The fifth art installation is called "Grapes" and is made of 32 antique Chinese wooden stools from the Qing dynasty and is from 2014. The stools have been joined together, using the traditional wood-working techniques. Like the more controversial destruction of the antique urn mentioned earlier, this was a criticism of the destruction of ancient art, culture, heritage and religion during the cultural revolution.

Conclusions

To the see the pictures of Wei Wei's controversial installations "Destroying a Hun dynasty urn" and "Coloured vases" is a deeply disturbing experience. Try searching for these 2 installations on internet. The destruction of antique vases which go back to thousands of years is like a wound in the soul, because that loss can never be repaired.

Through these installations, Wei Wei hits us with a killer punch forcing us to think not only of the years of destruction during the cultural revolution in China. It also forces us to think of millions of persons killed in the Holocaust by the Nazi regime or by ideologues running totalitarian regimes in China and Cambodia. It is a reminder of the destruction done by radical Islamists and by the so-called "forces of Liberty" - the Bamayan Buddha statue, and ancient ruins in cities like Mosul, Nimrud and Palmyra in Afghanistan, Iraq, Syria and Libya.

I am concluding this post with an art work of Wei Wei from 2015 - it is a wallpaper called "The animal that looks like a Llama but is really an Alpaca". The title of this artwork refers to the optical illusion. On a first glance, the wallpaper looks composed of geometric designs. A closer look shows you that it is made of elements like surveillance cameras, handcuffs, twitter birds and alpacas, each a representation of his struggles with the Chinese authorities and symbols of the Chinese society. Hanging on the wall, you can also see this 2009 work called the Hanging Man.

The second part of this post will focus on his remaining works from 2015 and later, that were presented in the Raiz exhibition.

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#aiweiwei #artofaiweiwei #artinstallations 

Documentary Film - Allah Loves Equality

I think that I had first met Wajahat Abbas Kazmi, then a young film-maker from Pakistan, about a decade ago, at the River to River film festival in Florence. I had even done an interview with him about his film "The Dusk" in 2011. Thus, when he invited me to see his new documentary film "Allah Loves Equality", I was curious.

Theme of Allah Loves Equality

The film looks at what it means to be a person of alternate sexuality or a LGBTQ person in Pakistan today. It starts with some examples of more accepting views towards alternate sexualities, especially towards cross-dressing, gay men and transgender women, in early Islamic society and in the Indian subcontinent, even during the Mughal period.

The film moves between 3 main strands - 

(1) The traditional communities of transgender women (Khawaja Sira or Hijra communities) and their accepted roles in the mainstream society;

(2) The struggles of gay persons (and a few lesbian persons) to live their sexual identities and their difficulties of coming out of clandestinity;

(3) The efforts of a few NGOs fighting for the rights of LGBTQ persons.

Moving between these 3 strands, the film explores their challenges, alliances and solidarities, as well as, what it means to live the porous and dynamic boundaries of different queer identities in contemporary Pakistan.

The violent reactions of a conservative patriarchal society are shown through a few social media and news clips. There is the vivid story of Alisha, a transgender woman, shot 6 times, forced to wait in the hospital because they could not decide if she should be treated as a man or as a woman and in the end, treated in the corridor of the male ward, in front of the lavatory, till her death.

The fear of violence is omnipresent in the film, expressed in the furtive gestures and anxious glances of film's testimonies. Bubbly, the guru/matriarch of a traditional Khawaja sira community, explains the importance of her traditional role in a soft and gentle voice - there is no other safe space, no space where you can find friendship and support outside their confines. She is reassuring and yet frightening because she underlines the perils of being an individual on your own in a society which does not accept you and can easily kill you.

Bubbly Malik has created a NGO called Wajood (Identity) for safeguarding the rights of transgender persons in Pakistan. She says "To live in a Daire Dari, the traditional home of Khwaja, you have to accept its rules. You get the love and support of a family but you must obey its rules."

Anaya Sheikh a young transgender stand-up comedian or Hannan Siddique, a well-known gay make-up artist, talk about the difficulties of living their sexual identities. Anaya can only be safe as a part of the Khwaja Sira and Hannan must wait for his companion, who is under family pressure to get married.

The crowd of young men dancing with joy in a private gay party or the transgender woman dancing at a home accompanied by a traditional musician are both facets of the same reality.

The lesbian women are a hidden world, briefly mentioned in the documentary for the violence they must face. "They can't even accept that lesbians exist here. To accept that would mean that women have a sexuality. So many women in rural areas are circumcised, they can't be allowed to have a sexuality."

In the film one person says, "It is better to have the traditional identity of Hijra or Khwaja Sira, it has a role in the society and it keeps us safe. Calling ourselves gay or transgender exposes us to violence." However, as Khwaja Sira, the opportunities for living are limited - you can beg or dance during marriages and births or sell your body for sex. There are no other options.

The NGOs, even if they are talking about HIV screening and prevention, need to be careful in what they say and how they are perceived. The film explains the efforts of Qasim Iqbal, who is considered the father of the movement for the LGBTQ rights in Pakistan.

If you wish to contact Wajahat Kazmi and to organise screening of this film, you can contact him through his website.

Conclusions

The parts of the film about Khwaja sira community reminded me of my (limited) interactions with the Hijra and Kinnar communities in India. Though many of the prejudices faced by persons with alternate sexualities are similar in India and Pakistan, I think that in India the LGBTQ world is much more ahead in raising their concerns and sharing their ideas.

The film does not talk of transgender men and other queer groups, showing that probably these groups are without voices in Pakistan and were not available to share insights about their lives in the film.

Some years ago, I had written about Parvez Sharma's film "Jihad for love" in which he had talked about the difficulty of reconciling the alternate sexualities with being a good Muslim. Wajahat's film briefly touches on this theme but does not go deeper. I guess that it is a difficult area to present in a sensitive way.

A few years ago, Wajahat did his coming out as a gay person and has been very active on social media in promoting the rights of young persons, especially Muslims, to live their sexuality without fear or repression. There was a period when I was worried that some radical Islamist group will kill him.

I can imagine that making "Allah loves equality" and shooting in Pakistan for this film could not have been easy. It is a hard-hitting film and shows aspects of alternate sexualities in Pakistan that are usually hidden from public gaze. Allah may love equality but some of his people do not love it. Wajahat has a long fight ahead of him, his film is a courageous step in that direction.

Film credits: 

Made by Il Grande Colibri, 2019, duration 55 min., produced by Elena de Piccoli, Michele Benini and Pier Cesare Notaro, directed by Wajahat Abbas Kazmi

*****

#lgbt #documentaryfilm #alternatesexualities #pakistan #lgbtpakistan

Long-Necked Women in Sculpture and Art

After months of travelling from one continent to another, I am finally back home in Schio, just in time for different art and culture initiatives. Last night I went to an art exhibition of local artists at Toaldi Capra palace. There were some nice works by artists like Alida Bertoldi, Galileo Gonzo and Livio Comparin, but what caught my attention (and inspired this post) were some sculptures by the sculptor Antonio Capovilla.

Capovilla's sculptures are all about tall slim women with long necks. This post is about my fascination with long-necked women in art and sculpture.

B. Prabha's Women

As a child during the 1960s in India, I loved painting. It was in those days that I had discovered the art of B. Prabha, which frequently appeared in the Hindi magazine "Dharamyug". She painted mostly women, often fisher-women holding or sitting around baskets of fish or rural women with birds. Dark and big eyed, often draped in half-saris which were made fashionable by the actress Saira Banu in the 1967 film Shagird, they were all tall slim women with long arms and long necks. For many years, I drew and painted women inspired by her art. Those women influenced my adolescence fantasies. Perhaps, that is the reason, why even today, I love tall, slim, long-necked women in art and sculpture.

Amedeo Modigliani's Women

Some decades later, in Italy, I saw the paintings of Amedeo Modigliani. His women, with their elongated faces and long necks, immediately reminded me of B. Prabha's women. I think that B. Prabha was inspired by his works, though she made it her own by locating it in the Indian rural milieu, while Modigliani's women were mostly half-body portraits of European urban women.

Long-necked Slim Women in Sculptures

The early artists of renaissance, including Leonardo da Vinci and Michaelangelo brought realism and perspective to art. In 16-17th centuries, first Italian and later, European artists went beyond realism and naturalism and adopted elongated bodies and this was known as Manierism style of painting, which was adapted and perhaps exagerated by Modigliani.

Over the past decades, many sculptors have been consciously or unconsciously inspired by Manierism and Modigliani's style and make sculptures of long-necked slim women. Here are 3 examples of such sculptures - the first 2 of these are by Mirella Guasti and the third one is by some unknown artists.

To conclude this post, here is another sculpture of two women by Antonio Capovilla, which had provoked this nostalgia trip about my memories of B. Prabha.

*****

#longneckedwomen #sculptures #paintings #art #bprabha #antoniocapovilla #mirellaguasti #modigliani #amadeomodigliani

The Metaphorical Ganesh

Among all the Hindu deities, my favourite is Ganesh, with his pot-belly and the face of an elephant. In this post I want to talk about my fascination with Ganesh ji and how I understand his metaphorical meanings, as well as, about a book called “Ginger and Ganesh” which I read recently.

The above image of Ganesh is from Guwahati in the north-east of India, where I lived for a couple of years. I love the 3 baby monkeys playing on the statue of Ganesh ji. It expresses perfectly how I see Ganesh as a deity. However, let me start this post with the book.

The Book: Ginger and Ganesh

Nani Power’s quirky book “Ginger and Ganesh – An Adventure in Indian Cooking, Culture and Love” (2019, Counterpoint, Berkeley) is a personal memoir of her love story with an Indian student and an exploration of Indian homes in North Virginia (USA) in search of traditional Indian recipes.

The book is dedicated to the Ganesh, “O elephant-faced God, Ganesha, you are served by the attendants of Shiva and you eat forest apples and blackberries. You are Uma’s son, the destroyer of sorrows. I bow to the lotus feet of the remover of obstacles”.

In the book, she explains her fascination with the figure of Ganesh: “On this path I met Sri Ganesh. You may be familiar with him: he is the ever-popular elephant-headed deity, accompanied by a tiny mouse. He has a large jovial belly, and holds a conch shell. I’m not sure why he in particular ignited my passion for this culture and beyond, but perhaps it was the fact that his statue was present the first time I tasted the incendiary potions of India I came to love. Or maybe, the wisdom and calm that he emanates soothed my world-weary soul, and he seemed to be a constant reminder—at the doorway of most houses, or in their altars—that I was on a spiritual path as well as physical.”

In the book, stories of encounters with Indian families alternate with vegetarian recipes and brief reflections about Ganesh ji, after she had placed a simple advertisement in the Craiglist about wishing to learn traditional Indian recipes. The book chronicles her experiences over a period of one year, summarised in the following words:

Almost imperceptibly, the culture of this rich and varied country slithered into my life like a sinuous cobra, combining the modern ways of the United States with the Technicolor of India, while I ate some damn good food. I wanted to understand the Indian culture and people; and what seemed so enchanting was that I was constantly being surprised and challenged by how complex—and contradictory—it can be. While at one time thousands of years old, in another time it seems jauntily modern, yet where this occurs bewilders me. I have learned to keep an open mind. Now, after this year of cooking real Indian food, I realize that the only real way to learn to cook is through the senses and heart. It turns out that it is the only real way to live and to love, as well …This simple year long cooking lesson—innocently started as a little two-line ad on Craigslist because I was frustrated with my lame attempts at Palak Paneer—taught me a lot more than how to make a killer spinach and cheese curry. It smashed open my heart, in so many ways. The kindness of the women, the beauty of the culture, the explosion of flavors, and, curiously, the very physical act of cooking led me to examine what is beyond all this: the spiritual realm.

Ganesh, the People’s God

The word Ganesh is made of Gan (people) and Ish (God) and he is one of the most popular deities in Hinduism.

Hinduism has different and sometimes contradictory ways of defining and understanding God. There are Hindu hymns which talk of God as a formless, beginning-less, ending-less, eternal consciousness which pervades all atoms and molecules. God is also present in each of us, humans, animals and plants, as part of our consciousness, as part of our soul. Then there are Hindu hymns which identify God through human and animal avatars – the pantheon of 33 million major and minor Gods.

Each Hindu deity is known by different names in different parts of India and Ganesh ji is no exception. Some of his other names are – Ganapati (people’s leader), Adidev (ancient God), Gajanan (elephant face), Gaurinandan (son of Gauri), Lambodara (big belly), Prathameesh (first God) and Vidyadhar (one who holds knowledge).

Mythology About Ganesh

The Hindu Gods can be seen as statues of deities, some of them in strange shapes and forms linked with mythologies. They can also be seen as symbols of different aspects of the human reality with deeper meanings.

The mythological stories about Ganesh ji, present him as the creation of Parvati (the daughter of the Himalaya mountain), the consort of Shiva. While Shiva is away on a long journey, Parvati creates Ganesh out of her own body. When Shiva comes back, Ganesha is a child, who does not recognise him. Since his mother is taking a bath, he blocks Shiva’s path, refusing to let him enter their home. An angry Shiva cuts his head. When Parvati finds this out, she is grief-stricken so, Shiva sends his men to look for a substitute head, and those men bring the head of an elephant. Thus, Ganesh ends up with an elephant's head.

Metaphorical Understandings of Ganesh

I am sure that Freud would have a theory about meanings and significance of Ganesh linking him with sex or sexuality. However, I think that Ganesha is a metaphorical representation of human brain and the different functions of mind in Hinduism.

The story of the replacement of Ganesh’s head with that of an elephant can be seen as a metaphor for human evolution, the arrival of Homo sapiens, those with the memory and intelligence. Elephants are known for their memory and their intelligence, and thus Ganesh can be seen as a representation of the human brain and therefore, of the emotions and instincts, as well as of the rational mind.

Different names of Ganesh point towards the different functions of the brain. As Vighnakarta and Vinayak, he is the one who creates obstacles; and as Avighna, Siddhivinayak and Vighnaharan, he is also the one who overcomes obstacles. As Vidyadhar, he holds all the knowledge. As Yogadeep, he is the one who does yoga and meditation. As Uddanda, he is the wild one, the one difficult to control. As Sarvasiddhanta he controls different skills. As Harsha and Pramod, he signifies happiness. As Kaveesha, he inspires our poetry and creativity. As Ekadrishta, he controls our mind’s focus and attention.

Thus, for me Ganesh is the guide to the path of meditation and reflection for controlling the mind and the senses, for focusing our attention and building our strengths. He reminds us that we create our own obstacles and teaches us to empower ourselves for overcoming those obstacles.

Conclusions

I like the figure of Ganesh ji because I think that the combination of his human and animal forms, is an important reminder to humanity to respect the earth, the environment and the nature. His vehicle, the tiny mouse, is another reminder that every life on our planet, even that of the smallest creature, is important for our biodiversity and for the future of humanity.

Hinduism has different human-animal mixed figures including those of Hanuman and Narsimha. It also has some animal and bird forms as deities, such as those of Varaha and Garuda. All the different Gods and Goddesses of Hinduism are linked to an animal and to a plant. Thus, every life form and every component of nature is seen as sacred. As we move recklessly towards destruction of nature and of biodiversity, it reminds us to be responsible for the way we use technology and safeguard the nature for the future of humanity.

Finally I also like that our Gods can have deeper metaphorical meanings, like the significance of Ganesh as a representation of Brain and mind. This way of understanding religion is more complex and non-linear, it does not have the God as a saviour or as someone who punishes you for your sins or tells you what to do or not do, instead, it is guide to the reality and complexity of life.

*****

#ganeshji #hinduism #religion #philisophy #nanipower #bookreview #recipes #indiancooking