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Archive for the ‘Maintenance Automotive’ Category

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Two London exhibitions, the Serpentine Gallery’s Indian Highway and Aicon’s Signs Taken for Wonders, are the UK’s most ambitious attempts yet to distill coherence into the chaotic rush of art emerging from the Indian subcontinent.

The marriage between the conceptually minded Serpentine and Indian art – whose overriding characteristics are narrative drive, flamboyant figuration and sensuous colour – is interesting because it is so unlikely. Recent memorable Indian installations have been sprawling, direct and often rooted in the animal motifs of folklore: Bharti Kher’s “The Skin Speaks a Language Not Its Own”, a collapsed fibreglass elephant adorned with bindis (female forehead decorations) at Frank Cohen’s Passage to India, or Sudarshan Shetty’s bell-tolling aluminium cast of a pair of cows, now at the Royal Academy’s GSK Contemporary. Nothing like that is in Indian Highway; with conceptual aplomb, the Serpentine turns the accessibility and energy of Indian art into a taut cerebral game.

The highway of the title refers both to the literal road of migration and movement, and to the information superhighway, which together are propelling India to modernity. Dayanita Singh’s wallpaper-photographs of Mumbai’s central arteries illuminated at night introduce the theme in the first contemporary art gallery, and a crowd of sober documentary films worthily continue it – but a pair of installations catch the symbolism best. One is Bose Krishnamachari’s celebrated “Ghost/Transmemoir”, a collection of a hundred tiffin boxes – widely used to convey home-cooked lunches to workers across cities – each inset with LCD monitors, DVD players and headphones, through which everyday Mumbaikars regale audiences with their stories, accompanied by soundtracks evoking the high-pitched jangle and screech of Mumbai street life.

The other, towering upwards to the North art gallery‘s dome like a beating black heart at the core of the show, is Sheela Gowda’s “Darkroom”, consisting of metal tar-drums stacked or flattened into wrap-around sheets, evoking at once the grandeur of classical colonnades and the ad hoc shacks built by India’s road workers. Inside, the darkness is broken by tiny dots of light through holes punctured in the ceiling like a constellation of stars; yellow-gold paint enhances the lyric undertow in this harsh readymade.

Opposite is N S Harsha’s “Reversed Gaze”, a mural depicting a crowd behind a makeshift barricade who tilt out towards us – making us the spectacles at the exhibition. All Indian life is here in this comic whimsy: farmer, businessman, fundamentalist Hindu, anarchist with firebomb, pamphleteer, aristocrat in Nehruvian dress, south Indian in baggy trousers and vest, tourist clutching a miniature Taj Mahal, and an art collector holding a painting signed R Mutt – linking the entire parade to the urinal, signed R Mutt, with which Marcel Duchamp invented conceptual art in 1917.

Essential to the meaning of “Reversed Gaze” is that it will be erased when the exhibition closes – a slap in the face for the predatory art market. So will the pink and purple bindi wall painting “The Nemesis of Nations” by Bharti Kher, who recently joined expensive international gallery Hauser and Wirth. And a canvas of drawings greeting visitors as they enter is all that is left of Nikhil Chopra’s performance piece “Yog Raj Chitrakar”, in which the artist this week spent three days assuming the persona of his grandfather, an immaculately dressed gentleman of the Raj, and lived and slept in a tent in Kensington Gardens, entering the gallery only to daub the canvas that stands as an art of aftermath – a memory drawing.

Painting here is a vanishing act. Maqbool Fida Husain (aged 93) has made 13 bright poster-style works – red elephants, a tea ceremony after a tiger shooting, a satirical Last Supper with dapper businessman, umbrella, briefcase, body parts – to surround the exterior of the Serpentine. MF Husain is India’s most respected artist; with these billboards, executed in his standard style of forceful black contours, angular lines and bright palette, he returns to his career origins as a painter of cinema advertisements.

In the catalogue, curator Ranjit Hoskote argues that “transcultural experience is the only certain basis of contemporary practice” and that “the chimera of auto-Orientalism, with its valorisation of a spurious authenticity to be secured as the guarantee of an embattled local against an overwhelming global, has been swept away”.

But Husain, godfather to generations of Indian artists, and indeed every piece in Indian Highway – from feminist painter Nalini Malani’s looping fantasy figures intricately inked on bamboo paper in “Tales of Good and Evil” to Jitish Kallat’s photographic series “Cenotaph (A Deed of Transfer)”, chronicling the demolition of slum dwellings – proves the opposite: however hard a western gallery tries to make Indian contemporary art, talk a global conceptual language, its local strengths speak louder. Indian art, on this showing, is visually arresting and thoughtful, but nothing here is formally or conceptually innovative, or aesthetically provocative. We thus respond to its distinctive idiom and themes as cultural tourists.

When you hear of any road accident or read the news of tragic vehicle collisions you suddenly become cautious and start pondering about the safety and security of your own vehicle and your life. In the normal days, people seldom find time or try to ignore the repair needs of their vehicles. They are of the general opinion that their vehicles are in the working condition and taking them for check ups and maintenance is utter waste of money. But, they tend to forget that a small carelessness on their part can later on cause a fatal accident which will not only cost them much more than a normal maintenance cost of the vehicle but will also immensely increase their medical bills and cause them psychological damage.

There are times when despite your safety precautions and proper care you get engaged in an accident due to the carelessness on the part of the other driver. Even if you have been driving safely, wearing a seat belt and following all the traffic rules you can never predict the safety measures of the other drivers on the road. A simple neglect of the red signal can lead to a vehicle getting collided with your vehicle and causing damages to your precious automobile. In such situations taking the instant assistance of the automobile collision repair shop is imperative to save your vehicle from further damage or protect yourself and your family from any disastrous circumstance due to the deteriorated condition of your vehicle.

Always remember that your safety is your own hands and playing with it can be very dangerous which can cause irreparable damage. During a foggy weather or rainy condition your vision gets blurred and you can collide with the nearby pole or an object on the road. Taking the collision vehicle to a repair shop is the first step for any wise driver as the trained technicians of the repair shop will check the damages and will restore the vehicle to its former condition.

As being a novice you cannot judge for yourself the damages already done and the complexities involved. So, the experts of the collision repair shops with their years of experience and skills are your perfect companion in such conditions. Leaving your vehicle as they are can expose them to further damages which will keep on adding to the bills and will also give you headaches and tensions. Take the wise decision and consult a collision repair shop for best restoration services!