8H x 16W feet
Prabhakar Pachpute was born in 1986 and raised in Chandrapur (Maharashtra), India, a place known as ‘The City of Black Gold’, where his family has worked for three generations in one of the oldest mines in the country. Currently, he lives and works in Mumbai. He has done his Bachelors in Fine Arts from I. K. S. University, Khairagarh (Chhattisgarh) in 2009 and Masters from M. S. University Baroda (Gujrat) in 2011.
Prabhakar Pachpute calls attention to issues concerning land politics, industry, and labor through a multimedia practice that includes drawing, painting, sculpture, animation, and murals. Best known for his site-specific charcoal wall drawings, Pachpute’s work references his own experiences growing up in a multi-generational coal mining and farming family. Employing surrealist motifs, the artist’s works are politically rooted depictions of characters that have experienced the seizure or ‘donation’ of their land for economic gain. Considering issues of exploitation through economic, social, and environmental lenses, the artist’s work critically reflects on evolving histories of familial attachment and physical ownership of agricultural and industrial resources.
10 Undersung Women Artists Across 500 Years | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Padmini Chettur’s "Varnam" and Pichet Klunchun’s "I Am A Demon": An Instructive Contrast | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles October 4, 2018 By Bilqis Hijjas (975 words, four-minute read) If you have ever felt that classical Indian dance is too melodramatic – if you have ever rolled your eyes at a dancer’s fervid abhinaya, or a poem narrator’s extravagant diction – or if you think all the bright drapery, clashing saris, and coloured lights are unbearably gaudy, then Padmini Chettur’s Varnam is the corrective you have been waiting for...
« Les musées doivent pleinement jouer leur rôle dans le débat écologique » nav_close_menu Offrir Le Monde F ace au dérèglement climatique et alors que s’est achevée mercredi 13 décembre la COP28 , les musées, institutions ancrées dans la vie de la cité, sont à un tournant de leur histoire, contraints de réinventer leurs modes d’action, de pensée et de fonctionnement...
For the two-channel work Asking the Repentistas – Peneira & Sonhador – to remix my octopus works Shimabuku asked two Brazilian street singers to compose a ballad about his previous works with octopi (in which he created traditional Japanese ceramic vessels to catch octopi, with a fisherman who took him on his boat to test them out as we can see on one of the channel)...
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...
Artist Rejected from Venice Biennale Polish Pavilion Says He was Censored | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Between Worlds: Café Sarajevo, ATARA and No Place | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Crispian Chan February 17, 2020 By Nabilah Said and Germaine Cheng (1,580 words, 7-minute read) What does it mean to be between worlds? To behold yet not belong? Three works – Café Sarajevo , ATARA and No Place – presented as part of M1 Singapore Fringe Festival 2020 ask these questions, of their audience and of themselves...
The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together...
Private Chinese art museum makes a comeback, 2 years after sponsor’s pull-out left it on life support | South China Morning Post Advertisement Advertisement Art + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more A preview of the auction for Guangdong Times Museum in January, held to raise funds for its relaunch...
Saturday, December 4 at 3 pm at Kadist Visit of the exhibition in the presence of the artists : Kate Mitchell, Ms&Mr and Arin Rungjang Please RSVP: assistant@kadist.org Wednesday, December 8 from 7 to 9pm in the Auditorium of Jeu de Paume “Fabrications: The Theatre of Everyday Life” presented by David Teh and Dougal Phillips “Unreal Asia” a thematic programme originally conceived for the 55th International Short Film Festival Oberhausen 2009...
How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED Skip to Nav Skip to Main Skip to Footer NPR How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 Brittany Luse Dec 13 Save Article Save Article Failed to save article Please try again Facebook Share-FB Twitter Share-Twitter Email Share-Email Copy Link Copy Link Beyoncé donned a cowboy hat for the limited edition cover of ‘Renaissance.’ (Parkwood Entertainment/ Columbia Records) When it came to some of the most urgent and enduring pop culture of 2023, the cowboy was center stage...