100:. His works attempts a re-reading of contemporary Indian history – the history in which ordinary people are absent and mainly provided by beautiful images and icons. Abul's works makes an active intervention in the common illustrative discourse of this history. Using the same tool, photography, that chisels history out of a block of ‘real’ human experiences, Abul makes a parody of it. 'Overall, the corpus of Azad's work can be seen to have a thrust towards an archive of local micro-history at the level of personal memory and in that sense, his works add up to a kind of social anthropology of his land and its people, though not necessarily in the line of tradition of the objective documentary'. Abul Kalam Azad is the visionary behind EtP
136:. Abul's talents as a photographer was evident from childhood and he joined as an apprentice in a hometown studio to develop his skills. During the 1980s he set up 'Zen studio' at Mattancherry and started working with many prominent news agencies, newspapers, and in periodicals in India and Abroad. He moved to Delhi in the year 1990 and worked as a photo-journalist with Press Trust of India (1990–1996), New Delhi Bureau. During this time he traveled for further studies to Europe. He was supported by various scholarships, one of which was granted to him by the French Government. He also received a Charles Wallace Award (fellowship 1995), UK. He left the promising photo-journalist career to follow his passion '
216:'Abul draws on photographs. The act of scratching and drawing certain images, mainly images of violation like sword, torch, etc., on photographs brings forth a sort of witchcraft. Violation is vigorous, and the result could be a resurrection. Hence the two-dimensional works of Abul find their way directly into the discourse of contemporary social life. He negates the negation, and violates the violation. So the resultant works oscillate between the social dialectics; creation and destruction, spiritualism and fundamentalism, pacifism and fascism.'
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and building up architectural structures, to live and rule, were as important as making settlements in their own territory. In this sense, architectures all over the world give evidence to the growth of civilization, are symbols of invasion, seats of power and negotiating points in the exchange of power. What becomes minimal in the comparison with the overpowering architectures is the mass of human beings, who always remains powerless. Ordinary people are apparently absent from this history. Abul's works attempts at a re-reading of this history.
298:'Carefully chosen the tell-tale images of times gone by, of memories that rankle and rant, of disappeared loves, of homes that once held sway, of men that mattered, of women who ruled, of hearths and hearts, of ideologies, of blood, sweat and tears and of emotions that have never let go of the artist the `Untouchables' is a veritable emotional journey. A journey that troubles just as it tells the lives and times of India, of Kerala and of closer home, Mattancherry', says Priyadarsshini Sharma in The Hindu.
189:, Azad documents his personal and social life. His works could largely be associated with the place he lives, the social-political dynamics of the period, the technological advancement etc., and very much pertains to the local culture and historical context. Abul worked as Photo-journalist and editor in several magazines and news papers which is reflected in the works done during this period. He traveled for higher studies to Europe and London which has greatly influenced his works.
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enthusiasts from various discipline. Eventually, Mayalokam became
Mayalokam Art Collective to include other artists – Emma Burke-gaffney, Gayatri Gamuz and Anand Felix Scaria. The collective space comprised Mayalokam studio, Lila gallery, Masala company design store and Badal, an alternate shop. Art Exhibitions and Free music (interactive music concert between locals and professional musicians) took place on a regular basis.
233:'In the 1990s, Abul traveled extensively the length and width of North India, and documented the unmistakable scar of time, the dilemma of post-emergency India – the erupting quest of the haunted sphinx of history at the foreground of a degenerating architecture of faith. This is evident in this set of work that deals with the violent message of an unending search for identity. In the context of the demolition of
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it is a re-looking, and is a redoing the readily existing images. Some of them are local imageries and others are derived from Azad's family albums consisting of sepia-tinted photographs and are reworked digitally. While talking about his 'Untouchables' series, Abul says,'All the images of
Untouchables series are based on poets, litterateurs, politicians and objects. It is an ode to eminent people like
237:, these images stand at the historical frontier of human resistance. Azad deploys the powerful language of human presence, the presence of man before history... the humblest people with no air of power around them. The portraits’ cut and closed up textures of life become biographical with the manual scribbling, thus making a statement on the individual history of the ‘ant hill’—‘people of a nation’.
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devote themselves at the service of these unique customs and rituals observed in the temple that are related to ancient and possibly, pre-Brahminic mother goddess cults. Though the atmosphere is charged and overwrought with a kind of high-strung atavistic fervour, the images of these women in their redemptive bodily movements of self-mortification, have hardly any religious awe about them'.
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political is personal – that adage only applies to a part of his work. Left politics seen from the inside, religious ritual as street-side happening, blatant sexuality and marginalized sexual desire, drugged and drunken excess, the glories of classical music and dance, quotidian little details – his images teem with a life which cannot be contained'.
205:'Azad's early explorations included various mixtures of negative manipulation and hand-colouring and later digitally altering scans of already hand altered prints. Azad's hands on experiments were (and are) non-stop. The result has been a number of series each with its own particular approach and look.'
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Untouchables is Abul Kalam Azad's another popular series done during the period 2000–2006. The images are based on autobiographical reality and an understanding of everyday life. The Pop Art language is used to create a retro effect. The symbols are all gathered from memories and social experiences –
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150 images from various series of Abul Kalam Azad has been featured in the ten different notebooks published by
Ekalokam Collective, in the year 2013. Ekalokam collective is a south Indian based firm (year of registration – 2012), working with the vision of reaching out to art lovers with their day
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Abul Kalam Azad's series Divine Façade (1990–1995) has been widely discussed and exhibited internationally. The history of human civilization could be seen as the shift of human beings from their nomadic uncertainty to a settled fixity. But that was not the end. For them, invading other territories
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Coming back to his native
Mattancherry in the year 2000, he set up Mattancherry's his studio 'Mayalokam' in the inspiring labyrinth of the ancient warehouses, between the Bazaar Road and the Harbour front. Soon, Mayalokam studio became a cultural hub for locals, national and international artists /
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Noted art historian Prof. R. Nandakumar, HoD Visual arts, IGNCA says, 'these oracles in the various stages of trance, can be seen stomping around, sword in hand, in convulsive movements of frenzy. Weird-looking in their hysteric outbursts, the women oracles are part of the temple functionaries who
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Ram Rahman well known photographer, designer and curator says, 'Azad shoots like a maniac – his frantic camera is an extension of an eye driven by a fevered mind. That fevered mind is a perfect reflection of our crazy culture – everything is worthy of being seen. The personal is political – the
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Abul's work has been widely discussed and critiqued. 'Azad has several firsts to his credit. From a minority community, he articulated the issues related to minority communities as well as those of ‘minoritism’ as an ideological position. But he never fell into the traps of minority culture',
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of the 2nd century AD/CE is credited with this work. Kannaki, a legendary Tamil woman, is the central character of this epic. The story relates how
Kannaki took revenge on the early Pandyan King of Madurai, for a mistaken death penalty imposed on her husband Kovalan, by cursing the city with
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disaster. Black Mother series reveal the inherent drama of this frozen movement – the supreme
Goddess and her worshipers in a trance. The biological ancientness boils into the blackness of the photographs, exploring the utmost human possibility of the medium of Photography.
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took part in the fortnight long art festival which included film screenings, book reading sessions, plays, art exhibitions and seminars. Mayalokam Art collective was officially dissolved in the year 2005 and Abul's
Mayalokam studio continued in the same building till 2010.
140:'. His first exhibition 'Frontier People' was held at Kerala Kaladeepam in the year 1994. His first National level exhibition 'Violence Undone' was held in Max Muller Bhavan, New Delhi in the year 1996. Since then, Abul's work has been exhibited widely in India and Abroad.
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was initiated by
Mayalokam Art Collective and Kashi Art Cafe. The festival took place at Mayalokam Art collective and Kashi art cafe. Prominent artists and academicians like Ajayan Namboothri, Jose Manuel Val, Bawa Chelladurai, Suresh Jayaram, Vivek Vilasini,
295:, my mother ... who have left an indelible stamp on the social, cultural and political sphere. They are "Untouchables" in the context of their stature, their achievements, and so these documents hold timeless images dressed in modern metaphor'.
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refers to manually adding colour to a black-and-white photograph print, generally either to heighten the realism of the photograph or for artistic purposes. Azad started experimenting different sorts of painted photographs starting early 1990s.
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2017 & 2018 India
Foundation for the Arts Grantee 2012 – 2014 Senior Fellowship, Ministry of Culture, Government of India 1995 Charles Wallace Award for Masters in the UK 1994 French Government Scholarship for higher studies in photography
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printing, stitching, beading and sequencing on the photographs are other styles used. Abul's exploration also included exposing two or three negatives at the same time, cutting and pasting different negatives to create a new image etc.,
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88:(born 24 September 1964) is a noted contemporary Indian photographer. Abul's photographic works are predominantly autobiographical and expose the areas of politics, culture,
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249:' done during the period from 2000 to 2003, on his return to Kerala after a stay outside, depicts the female oracles at the time of the festival at the Devi temple at
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Painting and multi-media works on printed photographs is predominant in his early works. Doodling, scratching the negatives and the printed photographs,
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108:, a public photo art project that collectively creates and preserves photographic visuals of the fast changing culture and lifestyle of ancient
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which was registered as a non-profit foundation in the year 2013, co-founded by
Kulanthivel and Tulsi Swarna Lakshmi.
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An inclusive autopsy of a non-existent corpse, Waswo V Waswo, Cover story, Art&Deal, Issue 61/Vol.8 No. July 2013
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Abul's first exhibition was in Kalapeedom, Kochi and since then has exhibited his works in India and Abroad.
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Violence – Chemical strategies of violation, Johny M.L. and Mrinal M.Kulkarni, Art Critics, New Delhi, 1996
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104:, a Trust dedicated to preserving and promoting contemporary Photography. He is also the Director of
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In the year 2001, 'Encounter', Kochi's first contemporary art festival, sort of precursor to the
1775:"Indian Photographer Abul Kalam Azad | An Excavator Of Images | Documentary - YouTube"
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A documentary about Abul Kalam Azad's works titled An Excavator of Images was released in 2018.
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1546:"Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh"
1514:"Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh"
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Hand painted photographs, Nothing marks, K.S.Shekhawat, Design Digest, September 1996
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2008 Crossovers & Overlaps – Apparao Galleries, Triveni Garden Theatre, New Delhi
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1629:"Art Expo India: 'Lens-ing It': Abul Kalam Azad and Vivek Vilasini's photo series"
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164:, Tamil Nadu in the year 2010. Here Abul Kalam Azad initiated the formation of
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2007 The whirlpool of fate – The visual art gallery, Habitat Centre, Delhi
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Abul Kalam Azad photography, Prof. R. Nandakumar, HoD Visual arts, IGNCA
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On the photography of Abul Kalam Azad, Kabita Mukhopadhyay, Cochin 2003
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2006 Untouchables – Apparao Galleries, Madras, Delhi (preview at Kochi
257:. Silappatikaram is one of the five Great Epics. The Jain poet prince
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Exploring every angle, Priyadarsshini Sharma, The Hindu, 16 June 2006
121:
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Facing the world, A photographer's profile, The India Magazine, 1989
774:"What you see when you see: A significant exposition of visual arts"
755:"What you see when you see: A significant exposition of visual arts"
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2002 Contemporary design and photography – Westferry Studio, London
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to day use art products. Their motto is 'art in every day life'.
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Power points, offices of Political parties, Design Digest, 1996
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The first 'Encounter', Anand Haridas, The Hindu, 16 August 2001
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1997 Indien – Aspekte moderner Kunst, GTZ Gallery, Frankfurt
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1995 Addressing Gandhi – New Delhi, Bombay, Madras, Calcutta
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653:"Snapshots of a sepia tinted past and a glistening present"
418:
2010 Where three dreams cross – White Chapel Gallery London
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which is related according to local legends to the myth of
112:. He is the Editor-in-Chief of Photo Mail online magazine.
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1997 Gift for India – New Delhi, Bombay, Madras, Calcutta
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Abul now uses minimal equipments including film cameras,
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2013 ‘Beatles in Rishikesh’ Apparao Galleries, New Delhi
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1998 Edge of the Century – Max Muller Bhavan, New Delhi
937:"Variant – issue 4 – Divine Façades, Michelle McGuire"
357:
1997 Divine Façades – Photographers Gallery, Edinburgh
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2005 Double Enders – Bombay, Delhi, Bangalore, Cochin
1877:"mattersofart: Abul Kalam Azad's Notebooks Release!"
1266:"Divine Façades : Views of Indian architecture"
883:
Photos of the Gods, Christopher Pinney, Oxford, 2004
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Addressing Gandhi, SAHMAT, New Delhi, 1995, Page 109
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1996 Violence Undone – Max Mueller Bhavan, New Delhi
807:'Encounter with realities, Anand Haridas, The Hindu
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2011 ‘Photos of the gods’ LIFE IN ART, Switcherland
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2003 Remembering Bhupen – Kashi Art Gallery, Cochin
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1994 Frontier People – Kerala Kalapeedom, Ernakulam
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369:2001 Exhibition of Photography – Kashi Art Gallery
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375:2003 Goddesses – Lila Gallery, Mayalokam, Cochin
816:Anand Haridas, The rest of Encounter, The Hindu
360:1997 Divine Façades – Pitshanger Museum, London
1381:"Abul Kalam Azad, Untouchables – RL Fine Arts"
603:
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363:1997 Divine Façades – Impression Gallery, York
342:1995 Cine cést ne' – Gallery Nicephore, France
437:2012 Mind the gap, United Art Fair, New Delhi
378:2003 Black Mother – Kashi Art Gallery, Cochin
124:(24 September 1964) to a migrant family from
8:
384:2003 Heat – Bose Pacia Modern, New York City
825:Shades of Silence, Anand Haridas, The Hindu
753:Bangalore Mirror Bureau (10 January 2015).
396:2007 Making history our own – AIFACS, Delhi
1213:. Smartmuseum.uchicago.edu. Archived from
241:Black Mother – 'Heroine of Silapathikaram'
31:
20:
1105:"Art in the times of Cholera by Johny ML"
428:2011 Red room – Ragini art gallery, Delhi
390:2006 Untouchables – RL Fine Art, New York
1698:"Visual Evidence – Mumbai Art Galleries"
1651:"Reportage on United Art Fair New Delhi"
1551:. Whitechapelgallery.org. Archived from
1519:. Whitechapelgallery.org. Archived from
431:2011 "Lens-ing it"- Ashna Gallery, Delhi
405:2008 Animals – Ishka art Gallery, Cochin
240:
197:Painted photography also referred to as
1127:"New book chronicles history of SAHMAT"
968:"On Photography: My Favorite Portraits"
586:Gift for India, SAHMAT, New Delhi, 1997
545:"War Wedding Widows You tube - YouTube"
510:
440:2013 Focus Photography, Visual evidence
722:"Cultures merge across the backwaters"
1677:"- FOCUS Photography Festival Mumbai"
1357:. Kashiartgallery.com. Archived from
628:"A 360-degree view of Tiruvannamalai"
7:
1026:"Pixilated images, private thoughts"
1443:. 14 September 2010. Archived from
1240:"Gift for India – Asia Art Archive"
772:Jayaram, Suresh (10 January 2015).
1184:. Unitedartfair.in. Archived from
1060:. Johnyml.blogspot.in. 5 July 2010
903:"Welcome to Art and Deal Magazine"
730:. 25 December 2003. Archived from
443:2013 HAIL show, MNF Museum, Cochin
415:2009 Arco Festival – Madrid, Spain
14:
1939:21st-century Indian photographers
1914:20th-century Indian photographers
1034:. 12 October 2006. Archived from
310:, and a plastic pin hole camera.
1411:. 5 October 2006. Archived from
421:2010 Where three dreams cross –
1331:. 26 March 2003. Archived from
1299:. 27 March 2003. Archived from
1002:. 27 March 2003. Archived from
193:Painted photographs (1992–2013)
1800:"Video: Ekalokam Book release"
1208:"SAHMAT: Project Participants"
698:. 16 June 2006. Archived from
608:Pradeep, K. (7 January 2015).
166:Ekalokam Trust for Photography
102:Ekalokam Trust for Photography
1:
1944:Indian portrait photographers
1830:"Taking art to the commoners"
1704:. 3 July 2013. Archived from
1291:"Unembellished, stark stills"
994:"Unembellished, stark stills"
199:Hand-colouring of photographs
37:Azad in Casa, Himalayas, 2012
1605:. Aaa.org.hk. Archived from
1242:. Aaa.org.hk. Archived from
610:"365 days of visual history"
323:, Art historian and critic.
245:Black Mother – 'Heroine of
1965:
1879:. Mattersofart.blogspot.in
1631:. Artexpoindia.blogspot.in
1403:"Contemporary photography"
1182:"Photographs by Abul Azad"
501:Chai, Charas and Chappathi
132:, the historical heart of
1924:Photographers from Kerala
160:Abul Kalam Azad moved to
30:
1929:People from Mattancherry
1855:"By All Means Necessary"
1323:"Images of female power"
1058:"By All Means Necessary"
905:. Artanddealmagazine.com
836:"By All Means Necessary"
677:http://www.photomail.org
302:Recent works (2010–2013)
690:"Exploring every angle"
486:anger and other stories
459:Miniature art notebooks
181:Early works (1980–1999)
172:Grants and scholarships
1469:. Jugaadoo.blogspot.in
657:The New Indian Express
477:Etymology of Rishikesh
314:Historians and critics
149:Kochi-Muziris Biennale
128:and was brought up in
838:. Johnyml.blogspot.in
423:Fotomuseum Winterthur
1949:Photography in India
1857:. Johnyml.blogpot.in
1447:on 22 September 2010
780:. The Times of India
474:Beatles in Rishikesh
185:Using the medium of
90:contemporary history
1934:Artists from Kerala
1494:. Galleryespace.com
1355:"Kashi Art Gallery"
1220:on 20 February 2013
734:on 10 November 2004
16:Indian photographer
1919:Artists from Kochi
1810:on 15 October 2014
1755:on 19 October 2014
1609:on 17 October 2014
1582:Tallis Photography
1558:on 30 October 2013
1246:on 17 October 2014
1188:on 16 October 2014
518:Azad, Abul Kalam.
285:M. G. Ramachandran
187:Analog photography
1489:"Abul Kalam Azad"
293:P. Krishna Pillai
154:Dr. Rajan Gurukal
120:Abul was born in
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55:(age 59)
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79:Photographer
18:
1904:1964 births
1084:Cart An Art
489:Coral Hills
451:Documentary
412:– New Delhi
331:Exhibitions
106:Project 365
68:Nationality
1898:Categories
1883:11 October
1861:11 October
1839:11 October
1814:11 October
1759:11 October
1729:11 October
1702:archive.ph
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1161:Saffronart
1141:11 October
1111:11 October
1089:11 October
1080:"Johny ML"
1064:11 October
1042:11 October
1010:11 October
943:11 October
909:11 October
842:11 October
738:11 October
706:11 October
506:References
308:lomography
126:Tamil Nadu
76:Occupation
49:1964-09-24
1834:The Hindu
1804:Frequency
1784:4 January
1749:The Hindu
1724:The Hindu
1440:The Hindu
1408:The Hindu
1328:The Hindu
1296:The Hindu
1031:The Hindu
999:The Hindu
727:The Hindu
695:The Hindu
662:4 January
637:4 January
614:The Hindu
554:4 January
529:4 January
210:serigraph
116:Biography
110:Tamilakam
98:eroticism
1467:"Jugaad"
978:4 August
498:Dockland
321:Johny ML
277:Gandhiji
492:Samadhi
255:Kannaki
62:, India
1661:5 June
1578:"Blog"
784:3 July
520:"Home"
122:Kerala
94:gender
71:Indian
60:Kerala
1556:(PDF)
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408:2009
134:Kochi
1885:2014
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1786:2021
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786:2019
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708:2014
679:>
664:2021
639:2021
556:2021
531:2021
96:and
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496:The
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