Eminent artist - Yuriko Lochan's response to our request to attend the discussion

From: yuriko lochan
Date: Tue, Feb 9, 2010 at 4:02 PM
Subject: Re: Invitation for Interactive Art Discussion on 14th Feb. 2010 at Gulmohar Hall, IHC
To: bhanu pratap




Dear Banu,

Thank you for inviting me to the discussion and the exhibition. I am sorry that due to my health problem I would not be able to attend the exhibition and discussion.

After I read the text which you have sent, I had 3 things came up which I want you to think about.

1; What is "Modern" in Indian context. 2. What is "Fine Art" in Indian context.
3; What is "History" in Indian context.

I strongly feel that the social development of this part of the world is complex, absolutely unique and marvelous, which you just can not contextualize with only European analytical method. But unfortunately this is the only way we have. We all see ourselves/ our art/ our culture reflected in the Western method. Of course, I do not deny that this is also a great way of recognizing and analyze what it is.

I think this is the key to answer many questions you have .... 'First try to find out what you are'.

Very difficult!

Hope your exhibition would be a great success.

Yuriko
- Show quoted text -
On Tue, Feb 9, 2010 at 2:15 PM, bhanu pratap wrote:


Dear Mrs. Yuriko Lochan, With reference to our telephonic conversation, please find below the topic description for the Interactive Art Discussion planned at the Gulmohar Hall, India Habitat Center on 14th Feb. 2010 Indian Art Defragmented

What is Indian contemporary art?
Art made by Indians today?
Something that is predominantly Indian from a surface sense?
Whats the difference between representing the Indian exotic life and the facts of the world around us?
Risqué painted females, Brahmin boys giving a lost gaze at the viewer. Cows or kites, which are perhaps pseudo depictions of Indian-ness in the arts.” Oh I am Indian, I will make a cow, oh I need a style, I will make the figures semi- ajanta –ish”. Is this the Indian modern art?
What is True Indian Modern Art?
Something that’s easily global on the surface , but is inherently Indian in a modern sense.
It’s a common notion and belief that Indian modern art started during the period after Amrita Shergil and during the Bombay progressive art movement.
If it is felt that Indian has really been modern since the last 15 or so years, how could the Indian modern art depict the modern life in the 50’s and 60’s?

The reason why it might be felt that Indian has been modern in the last decade or so, is because, of the free-er trade and commerce policies that were passed during the nineties. The arrival of free trade and rapid industrial growth with less sanctions engineered the era of modernity,while the vast network of machines and technology shrunk the world and connected its horizons with the threads of communication and transportation. It is also related to the growing power of the bourgeoisie in the various markets and fields. The changing lifestyles made it apparent that the new art depicting the new world was needed.
Could it be that most of the artists in the First Indian modern art movement had exposure to international environment? They were and are all great artists and great modern artist no doubt. But were they essentially artists reacting to Indian social, spatial circumstances?
Modern art might be accomplished today, because how can it be done by an artist who doesn’t live in a modern world.
If the modern world has arrived, are we ready to take it on?

"Our lives begin to end the day we become silent about things that matter." -Martin Luther King, Jr. We wish you a speedy recovery.
Regards,
--
Bhanu Pratap
+91 (0)9810633505(India)
http://www.bhanupratap.com


'The fragmented Few' is an art exhibition curated by Monica Dawar, displaying the works by Bhanu Pratap, Veraat Singh and Aakshat Sinha. The exhibition is one of a kind physical and online exhibition. The show will open for public on 14th of February 2010 and will be on display till 18th of February 2010 at Convention Foyer, India Habitat Center, Lodhi Road, New Delhi




--
Best regards,

Yuriko Ando Lochan

Our art discussion listed at Delhievents.com

Our art discussion is also listed Delhievents.com
http://www.delhievents.com/2010/02/art-defragmented-interactive-art.html

Event listing on delhievents.com

This is the link to our exhibition listing on the website delhievents.com

Contemporary Indian Writing- part II

Another debut author, Vikas Swarup, a diplomat turned author and presently posted in, as India’s Consul-General to Osaka, Japan, also seems to chart out a similar terrain on the lines of Adiga, but without immunizing himself against the pitfalls of his cosmopolitan narrative. In Q & A, he eschews from celebrating the pluriethnic, rainbow riot of Rushdie’s Mumbai and focuses instead on a Mumbai encumbered by somber shadows of an ulterior reality. An orphan poor boy, Ram Mohammad Thomas becomes a spokesperson of the hitherto silenced minority, the deprived section of the country’s so called economic capital whose towering heights neglect the peripheral squalor of city pavements and slums. Ram describes Dharavi, Asia’s biggest slum as “a cancerous lump in the heart of the city. And the city refuses to recognize it….There are a million people…packed in a two-hundred hectare triangle of swampy urban wasteland, where we live like animals and die like insects” (156, 157).
Swarup evokes a morbidly pathetic site of Mumbai as it goes on to revel in its polyphony of inter-cultural ‘riots’. It is a very different Mumbai experience that exposes its underbelly of crime and dons, the organized network of corruption and bribery, where children are abducted, maimed and forced into beggary and rich are not ennobled, as money becomes the means to cover up their hideous personalities, fake smiles and criminal consciousness.
Thus, it seems as if the Indian writers in English do not possess the necessary vocabulary to express the consciousness of local and regional sub-cultures unless turned into elements of exotic appeal.
Based on the format of the TV quiz show, Who Wants To Be A Millionaire?, Q & A is a conglomeration of diverse stories linked together by a singular aim of portraying India in all possible colours, including the negative, thereby framing a larger narrative about human life and the rapidly depleting culture of humanity. As Ram goes on to win a billion rupees by answering all questions correctly, based on his life experiences, readers tend to indulge in a fantastic view of life as one’s saviour from the injustices of society and destiny. As Vikas Swarup states in one of his interviews to Hindustan Times, “It is a story of hope and optimism…Anything can happen here in India and we are doing it all with democracy…I wanted to show that not only education but life itself is the greatest teacher”
The narrative of hope is inscribed all over in the life of Ram Mohammad Thomas. His name itself is a testimony to the great ‘optimism disease’ that the underlying secular character of the country cannot and will not be overwhelmed by ethnic and communal strains in its nationalist fabric. Moreover, Ram is also made a victim like Adiga’s Balram. He is accused of cheating in the game show, arrested and beaten hard but this does not deter him from the path of hope. He is acutely aware of the fact that his miseries are the result of the lack of money yet he does not stoop low to co-opt himself within the system that he seeks to challenge. In fact, he comes across as more discerning than Balram. He is aware that if money is a source of power for the poor, it is akin to misery for the rich. “I wonder what it feels like to have no desires left because you have satisfied them all, smothered them with money even before they are born….Is the poverty of desire better than rank poverty itself. Ram’s narrative does not end up being a tale of class warfare. The inequality between the haves and have-nots is highlighted and the reader is left to formulate his own response. Thus, the novel ends up being a romantic investment in the life and destiny of Ram Mohammad Thomas and falls in line with the dominant genre of postcolonial bourgeoisie Indian English novel that postulate Romanticism and the transformative power of imagination as antidotes to pressing social realities.
Thus, while on the surface, both The White Tiger and Q & A may appear as flash in the pan novels, foregrounding the perspective of independent, lower class protagonists having their own motivations, it remains largely a cosmopolitan take on the subaltern reality, seen through “guilt- tinted as well as gilt-tinted spectacles”. The arrival of both Adiga and Swarup on the Indian English literary scene does not add much to the genre in terms of bringing in variety of ideology and technique , thereby expanding the contours of Indian writing in English today. I here recall Meenakshi Mukherjee’s ideas in ‘The Anxiety of Indianness: Our Novels in English’… “We shall probably see more and more writers ( can I add artists too?) who will (be) propelled by the logic of social dynamics within the country, lured by forces of global marketplace and driven by the mirage of international fame….”

Contemporary Indian Writing - part I

Shashi Tharoor in his essay ‘Rushdie’s ‘Overartist’: Indianness from Midnight to the Millennium’ talks about Salman Rushdie’s heritage to the Indian English fiction, derived from a “polyglot tumult of multiethnic and postcolonial India” (122) where “people of every imaginable color (sic), creed, caste, cuisine, consonant and conviction can live, strive and triumph together in one gloriously mongrel nation…” (135). With writers like Rushdie and Tharoor whose post-modernist musings are imbued with a “chutneyfied” vision of India, no wonder the ‘desi sadak’ and gullies of the ‘other’ India lose their visibility and rendered devoid of a significant presence within the contours of the Big Indian English novel. However, a sense of variety has begun to illuminate the said genre with new writers like Aravind Adiga and Vikas Swarup, who have shown their willingness to incorporate the subaltern perspective in their debut novels, The White Tiger (2008) and Q & A (2005) respectively. Both Balram and Ram Mohammad Thomas hail from rural hinterland and slums of the ‘other’ India but come across as bold, clever, independent and agents of their own destiny as they narrate their lived reality from their own perspective and conceptualize their relationship with upper class masters. Here one is tempted to map the credibility of the authors’ rendition of lower class consciousness. Admittedly, it is not easy for these urban writers to evade the charge of elitism altogether, of being out of touch with grass root realities and incapable of writing convincingly about the subalterns of the ‘idea’ called India.
Following is a kind of a review of both the novels to see how far these India writers in English have been able to do justice to their representation of India. A kind of a survey becomes important because Indian English has deftly usurped the position of Indian Literatures and distorted their efforts to present the real India by delving into a constructed representation of India, aimed at exoticising it and selling it in the western market. It’s a similar kind of experience when one visits the elite art galleries in elite circles of Delhi and sees a variety of aesthetically distorted and intellectually distanced canvases in the name of High Art and I so wish to call it the Indian English Art born out of the sole desire to sell India abroad.
At a time when India is trying to mobilize world opinion for getting a permanent seat in the UN Security Council and every next leadership summit speculating over India’s credentials to be the new visage of world power; both Adiga’s and Swarup’s protagonists tend to deflate these claims by their grim confessions about the ‘real’ India existing somewhere on the deprived peripheries of Delhi, Mumbai and rural interiors of the country. Balram Halwai in Aravind Adiga’s The White Tiger takes upon himself to puncture the India shining rhetoric and highlight the brutal injustices of society in a series of one-sided conversations with Chinese Premier Wen Jiabao.
The White Tiger is rigorously inclined towards stripping the veneer off the amoral materialism that lies at the heart of society. India is the largest democracy in the world but weak enough to survive the distortions of the system where politicians are bribed, horse-trading finds its way into the corridors of Parliament, elections are rigged and corrupt politicians keep coming back to power. The poor residing in the darkness never get to cast their votes. They struggle to live as much as they yearn to die and escape the curse of poverty. Therefore, in the subversive act of murdering his master, Balram hides his derisive laughter at any pretension of justice or civility.
The novel documents Balram’s journey from the darkness of village into the light of entrepreneurial success, capturing psychopathic stirrings of his “half-baked” mind that refutes the traditional caste/class structure by exposing its incongruities. He affirms how the ever-widening gap between the rich and poor has reduced Life to a condition of eternal class warfare:
I won’t be saying anything new if I say that the history of the world is the history of a ten-thousand-year war of brains between the rich and the poor. Each side is eternally trying to hoodwink the other side: and it has been this way since the start of time. The poor win a few battles (the peeing in the potted plants, the kicking of the pet dogs, etc.) but of course, the rich have won the war for ten thousand years.
Being poor amounts to having no human value and relegates one to a status even worse than animals. “Men with big bellies” are out there to exploit and destroy “men with small bellies.”

However, what strikes as a jarring note here is the way Adiga uses the language of self-subalternisation and renders this portrait of social unrest devoid of meaning. Liberty, for Balram, amounts to switching sides in the Manichean world of two Indias and placing himself in the position of his former master. He will commit more crimes, pay bribes, and perhaps murder again if need be. Thus, the narrative ends up being a guilt-tinted, middle class, liberal take on the distortions of the system that leaves no alternative for its victims except one, that is, to wriggle their way through the system by colluding with the system.
Thus, Aravind Adiga’s novelistic agenda is not radically different from those of other postcolonial bourgeois migrant writers who wish to speak from the margins, yet end up assimilating into the coterie of the mainstream cosmopolitan elite. Literature of the periphery looses its thrust when an elite, middle class and Oxford returned Adiga attempts to communicate it, divorced as he is from the lived reality of the ethnic or caste ‘other’. Thus, the novel ends up being a surface documentation of the lives and experiences of poor and does not come across as a credible narrative of resistance against the oppressive power structure.




CONTD - next post
--
Bharti Arora (The latest Fragmented Few)

The Esteemed Atendees

Here are the few names of the esteemed guests who are attending the art discussion, like Umesh Verma, Sudip roy, Rameshwar Broota, Anandmoy banerjee , Art historian Benoy K Behl, leading art critic and writer Keshav Malik, Associative Director, curator and art writer Latika Gupta .

Another sketch by Bhanu Pratap

An experimental piece I did, Its on a printed glossy paper in some art mag.,
Medium- pen, marker, whitener, acrylics.

Shameless self promotion by Bhanu Pratap.

Modern art SKetch

Heres a sketch by Bhanu Pratap, modern man in art.
hey Aakshat and Veraat , come on guys, its time to post some art man, people are starting to think this is a philosophy blog or something.

The story about a Madur Bhandarkar, and a Vishal Bhardwaj

I don’t think that Madhur Bhandarkar and Vishal Bhardwaj are just people. They can so easily signify so many things. They obviously signify two seemingly alike styles of cinema. Yknow, how they seem to show the real India, unlike the fluff that’s portrayed by the majority of Bollywood.
But one thing bugs me, just because they are different from the majority, doesn’t mean we pool them together.
I think they represent two different type of art and cinemas, one which is serious yet takes itself lightly, the other is self engrossed and self serious.
When you are exposing the underbelly of Corporate or the Fashion world, the first thing that you are doing is journalism, but when you leave it to just that, you just end up being a glorified journalist.
Yes, it’s indeed a hard thing to find realism in much art these days, since everything’s getting bigger and better. Realism is much respected, since it’s a hard discipline to follow. But I think there’s also a fault in thinking that realism in itself is a great achievement. It’s like any other genre it’s a medium used to express oneself.
Reality is a launching pad for artistic expression. Where the artist has to find his own voice and not hide behind the noise of real life.
That’s the difference between a Bhandarkar and a Bhardwaj
But that might not be the only thing separating the two artists.
One is strictly Indian, stuck in that frame; the other is global on the surface yet has an Indian core. The same difference between an artist who has used utensils to make tremendous artistic expression worthy of the world stage, and artists who have used clichés images in boring ways, images of cows on streets, the tricolor palette of colors , kites with wheatish brown colored people, people who copy paste from the ancient Indian art styles and “fit” them into the current scene(see cows on streets and wheatish people with kite).
Just painting an image of India is not enough, you have to get the essence of it, let it boil inside you, and then does the aroma settle and spread its effect. I think its important to live India, and act yourself, our identity might be through India but India’s identity is defined by us.
So we have to see, are we Indian or are we too Indian?

What’s common between recent flyovers in delhi and pseudo art styles?

What’s common between recent flyovers in delhi and pseudo art styles?

They look swanky and cool, and you say, oh India has really become global.
The view from a flyover, gives a rather new perspective of the city around you and the views from these styles gives the same notion about the world around us.
The flyover over near ber sarai and in front IIT delhi campus was completed in a hurry some time back, partially due to the upcoming commonwealth games. It got opened to traffic, probably to ease the traffic jam that used to pile up on the outer ring road. The queer thing of the opening was that the flyover was not complete. The basic road was laid but the amenities like lane lines and street lights were and are still to be installed. It was still ok, the traffic situation. We felt a little better; we got to our destinations earlier.
Well, back to our flyover. Hmm, so the winters came over, and the ride over the flyovers became bumpy. I wondered why……..???????
So one day, traveling in the bus, I peeked out the window and looked at the road, by gee it had these cracks , like the ones you see during the foot cream commercials, on the road.
I thought, it must be some modern technology. But a few days later, I saw some repairing work done on the technological cracks.
The Flyover had failed.
I see so many cool-looking aesthete styles at the galleries these days. So many techniques, so much eye candy use of digital softwares. But like so many flyovers they all look the same after the first time. So many actually look like each others facsimile. One gent gets famous and the many others get to the easy task of aping the Hero.
But like the original, initial flyovers stood the test of time, so have the original masters. Their style even though , at the first sight might feel like the rest of the wannabes, looks authentic and strong after a little peering through.
And the wannabes have those cracks in winters, the cold hard period of life, clearing because the style is superficial, which got built without any manthan(introspection/hard work), done with a fake sense of urgency as well with feeling that one might not be able to catch up.
What’s good with such an unprepared style or flyovers which will turn defunct and useless after a little wearing out? Its just bad investment if you put your money on things with little shelf life. We should think it over, what we are and what we really want to be.

It’s another story that even if all the flyover projects that are planned for the near future, are to be finished today, they still won’t be able to withstand the increasing traffic in the city.

Indian Art Defragmented- Interactive art discussion on Indian contemporary art

What is Indian contemporary art?
Art made by Indians today?
Something that is predominantly Indian from a surface sense?
Whats the difference between representing the Indian exotic life and the facts of the world around us?
Risqué painted females, Brahmin boys giving a lost gaze at the viewer. Cows or kites, which are perhaps pseudo depictions of Indian-ness in the arts.” Oh I am Indian, I will make a cow, oh I need a style, I will make the figures semi- ajanta –ish”. Is this the Indian modern art?
What is True Indian Modern Art?
Something that’s easily global on the surface , but is inherently Indian in a modern sense.
It’s a common notion and belief that Indian modern art started during the period after Amrita Shergil and during the Bombay art movement(find correct term).
If it is felt that Indian has really been modern since the last 15 or so years, how could the Indian modern art depict the modern life in the 50’s and 60’s?

The reason why it might be felt that Indian has been modern in the last decade or so, is because, of the free-er trade and commerce policies that were passed during the nineties. The arrival the of this free trade with less sanction provided what makes the modern world modern, the dependence on machine and technologies as well a shrinking world through communication and transportation. It is also related to the growing power of the bourgeoisie in the various markets and fields. That’s how the modern waves have been felt all over the world. The first need to make modern art came after the industrial revolution. The changing lifestyles made it apparent that the new art depicting the new world was needed. The same reasons and circumstances can be put here in the Indian environment.
Could it be that most of the artists in the First Indian modern art movement had exposure to international environment? They were and are all great artists and great modern artist no doubt. But were they essentially artists reacting to Indian social, spatial circumstances?
Modern art might be accomplished today, because how can it be done by an artist who doesn’t live in a modern world.
If the modern world has arrived, are we ready to take it on?

"Our lives begin to end the day we become silent about things that matter." -Martin Luther King, Jr.


-------------------------------------------
This will be the scope of discussions
INDIAN ART-DEFRAGMENTED
The interactive talk session would be held at Gulmohar Hall, India Habitat Centre, Lodhi Road, New Delhi at 6.30 pm on 14th February 2010.

Indian Art-Defragmented (talk/discussion on indian art)

UPDATE !!!!!!!!!!!!!!!!
Hi guys,

' The fragmented few' is coinciding , the opening of their art exhibition with an interactive art talk session"Indian Art Defragmented'with the luminaries of the Indian Art Field as well art lovers, connoisseurs and people from the media world.
INDIAN ART-DEFRAGMENTED
The interactive talk session would be held at Gulmohar Hall, India Habitat Centre, Lodhi Road, New Delhi at 6.30 pm on 14th February 2010.

The exhibition is one of a kind physical and online exhibition. The show will open for public on 14th of February 2010 and will be on display till 18th of February 2010 at Convention Foyer, India Habitat Center, Lodhi Road, New Delhi.


Drop in for a visual experience that will perhaps give you a different perspective to the world which deals in looking at the world around us in fragments of simpler smaller things that constitute it , fragments that are easily overlooked in their entirety and without the context of the sum of fragments.
It will be a visual treat definitely for you 'thinkers' out there too, as there would be many art intellectual speakers at the event . And yes , even your views on the topics of discussion would be highly precious.

Art can be a movement, it can also be propaganda, it can be philosophy , a life style, its usually considered a fragment of entertainment , yet in its entirety it can be a complete self sustaining universe . Whatever our view , we can have discussions as long as we agree to disagree.
I hope that our message comes across to you and and together we could see that the art is an 'thing unto itself'. A fragment that’s complete on its own too, a fragment that that make us look at the world around us in a unified perspective .
We will update the thread with more details about the event, we will let you also know the list of art luminaries who will be attending the talk session and exhibition.
And yes, last but not the least , we will upload the artworks for you guys to enjoy the show.
Stay tuned for updates and art.
We will also update the thread for articles on art by the art literaries as well as the artists featuring in the exhibition.

LET US GIVE YOU SOME ART

So guys, here are the first art updates. Here is a smallish , yet very intriguing work by Bhanu pratap, it's part of the doll series by the artist, and is done on two canvases with alternative installation which gives added compositional strength to the painting. The tension created by the faces and the canvases give yet another viewpoint of the struggles in this physical world.

SIAMESE TWINS

Acrylics on Canvas

twin installation

T- shirts

Heres the first line of merchandise, T-Shirts. Prices will be up soon!!!!

Contact us personally!!!!!

You can also contact us for personalized talks, request, have a more deeper insight into our works.

aakshat@gmail.com Aakshat Sinha (artist)

ranabhanu@gmail.com Bhanu Pratap (artist)

veraatsingh@gmail.com Veraat Singh (artist)

monica73dawar@gmail.com Monica Dawar (curator)

We'd love to hear from you :)

The catalogue covers

Catalogue covers for the artists, Aakshat Sinha , Bhanu Pratap and Veraat Singh.

Merchandise like these will also be for sale in the form of prints , you can order them online , physically at the exhibition as well over ther phone.

More details soon.

WE are now also on Myspace and Artslant

We are also these links. Kindly click on the links to see what is going on other parts on the web.


Us on Arslant
Us on Myspace

The exhibition is going ONLINE!!!!!!!!

It's news people. We are going online, yeah we are already online with us having a blog and pages at facebook and twitter. But now, the exhibition is going online too. Yes! the whole exhibition.
ENJOY!

Are we Twitting yet?

Yes we are

http://twitter.com/fragmentedfew

here, follow us, let us know your tweets, cuz we wanna follow you too.

FOLLOW US

FOLOW US!
on Facebook
you can be a fan, let us know that you are coming, meet other people who are coming to the show and make plans. Or just follow our exhibition in the confines of the site we all use 'facebook'.
A twitter page is in progress , so you can follow our updates and we can follow yours.
Take care,
THE FRAGMENTED FEW

POSTER OF 'THE FRAGMENTED FEW'

Hi Guys,

Here we are putting the posters online, you are invited to the art exhibition "the Fragmented Few". We will try to put out as many posters as we can. But you can also support us by printing out a poster and creating awarness by letting others know .

PEACE OUT!

Drop in for the Exhibition

Hi Guys,
You are invited to the exhibition" THE FRAGMENTED FEW"

Drop in for a visual experience that will perhaps give you a different perspective to the world which deals in looking at the world around us in fragments of simpler smaller things that consititute it , fragments that are easily overlooked in their entirety and without the context of the sum of fragments.

It will be a visual treat definitely for you 'thinkers' out there too, as every work consists of the life philosophy of the artists, but also when we(you,the viewer and us) will have a conversation, you will realise the defragmentation of the artworks by the artists is also rooted in the artist's worldview. Art can be a movement, it can also be propaganda, it can be philosophy , a life style, its usually considered a fragment of entertainment , yet in its entirety it can be a complete self sustaining universe .

I hope that our message comes across to you and and together we could see that the art is an 'thing unto itself'. A fragment thats complete on its own too, a fragment that that make us look at the world around us in a unified perspective .

The fragmented few

Very few would ascend to the fact that more often than not they exist in a fragmented state. What belies this denial? Why is it necessary? The answers lie right there with the questions. Denial is a selfish, cowardly moment of acceptance of the trait, which further, because of our inborn, ingrained insecurities, forces the mask of completion and congruency to come to the fore. With increasing pressures on our character and expected confidence, we create a magical world – complete in itself. Not realizing that all of the inadequacies are covered by things which remain farcical and imaginary, both to us and the world around. And to keep their own insecurities in check and their dream world intact, the ones around us keep up this charade.
What is complete? Is a nail complete without the underlying flesh and the finger to which it is attached? Is the finger complete without the hand that bears it, or the hand without the body or the body without its surroundings? A portrait in isolation can be complete if the lights and shadows so created create a world of supposed seclusion.
Few who desire to understand this fragmentation, realize quite early that this is a foolish pursuit - difficult, demanding and non-gratifying. So they create illusions of a fragmented world and search for creative options to reflect and share the world so created by them, to the general public. They seek to confirm their perceptions of such fragmentation. And though their worlds no truer than the worlds of the others, at least they desire for the unknown - a path unmapped!
A fragmented world so created needs to be defragmented frequently and then broken down again and again, and reconstructed to form newer, richer and more vivid vistas.

INVITATION to you