THEATER REVIEW
BY
BINA SHARIF

DIJLA WAL. FURAT: BETWEEN THE TIGRIS AND THE EUPHRATES
BY
MAURICE DECAUL (US Marine Corps Veteran )

DIRECTED
BY
ALEX MALLORY, Part of POETIC LICENSE 2015; subconscious

AT THE WILD PROJECT:  195 E.3rd Street.

The play takes place in 2003: before, during and after the fall of Baghdad. (Statue of Saddam Hussein also falls with the great sound effects of thousands of people rejoicing ) One would wish to believe that the country, Iraq and its people and the soldiers by now will also rejoice because the job is accomplished and the victory achieved and a celebration due.

But wait, there are terrible and tragic surprises awaiting the people involved.  There are four US Marines, four Iraqis and one reporter (French ) representing the thousands upon thousands of soldiers and Iraqis and the horrendous consequences as a result of this illegal
war, (started on the false assumption of the presence of weapons of mass destruction ) which were never there but the towns and cities and its inhabitants all turned into death camps, ghosts, burning bodies and un-imaginable destruction.

On a sand colored empty stage the Marines and Iraqis struggle and fight for their lives.
Their trauma and emotional devastation is absolutely hard to watch.  In the very beginning of the play an errant mortar round kills a child, (A girl named Amina ) and his father begs her burial but the Marines don't allow it.  They themselves are stricken with fear of some ominous tragedy befalling them.
Its just the beginning and the phantoms will haunt the living and the dead for the rest of times to come.
Then Baghdad burns and the loss of life, the soldiers deaths and their  emotional devastation and the destruction of a country will have wounds so deep and trauma so heavy and the price every one will pay,  so tremendous.

The brilliance of the author, Maurice Decaul is that he has made all his characters human and we feel their pain, loss and humanity throughout.  We never hate the Marines for being the enemy because
their loss is also as huge as the Iraqis and it is even more Ironic and sad to watch because they want to go home to their families and their wives and to a normal life but still we feel so much more for the innocent iraqis and their tragedy brought upon them by a foreign power under a false premise.

Most of the acting is excellent and many scenes are very moving but the scenes between Labib and Marid played by, (Ankur Rathee and Fahim Hamid ) are totally hunting, living and the ghost of the dead never leaving each other alone.
And in another scene when Ortega, (Nabil Vinas ) is saved by his comrade Ali who gets killed himself and Ortega gets badly injured, (his wife back home waiting to deliver his baby ) is also extremely moving and painful to watch.

The production is brilliantly directed by Alex Mallory.
The sound design by Jaime A Diaz is astounding. The lighting design by Derek Miller is also very effective.

This kind of a war play is very hard to stage and realize with such a small cast but every one involved has done a great job and the play is very moving and evokes many feelings.
A very Important play for every one to see.

“V.S. Gaitonde: Painting as Process, Painting as Life,” at the Guggenheim Museum, until February 11, 2015

“V.S. Gaitonde: Painting as Process, Painting as Life,” at the Guggenheim Museum, until February 11, 2015

REVIEW OF THE SHOW BY Poonam Srivastava

“I work as an individual. I do not have a scientific point of view. It is mostly my total experience of life [and] nature that comes through me, that is manifested on canvas. For me, every painting I do is a miracle … It is my sincere belief in life, truth, God, whatever it is, that prompts me to paint.”1 Quoted in Polyphonic Modernisms and Gaitonde’s Interiorized Worldview by Sandhini Poddar. In: VS Gaitonde: Painting as Process, Painting as Life, exhibition catalogue, published by Solomon R Guggenheim Museum and Prestel Verlag, New York, 2014, pages 27-28.

I was fortunate to witness the Vasudeo Santu Gaitonde, VSG, show, “V.S. Gaitonde: Painting as Process, Painting as Life,” at the Guggenheim Museum, October 24, 2014–February 11, 2015. The 45 paintings and drawings  in oil on canvas and ink on paper, span the years 1952 to 1998. The show of VSG’s works, left me centered and moved. His is the rare talent that opens hearts, minds, and souls simultaneously. The show touched me both as a person with great interest in art, but also as person with great interest and affinity for Zen Buhddism. I was moved as a South Asian woman, and also on a deeply personal non-nationalistic/historic level. VSG’s work reflected his life, 1924 to 2001 and brought to focus the recently discarded twentieth century with all its twists and contradictions; being modern and global while embodying ancient truths; the East - West / North - South dichotomy that was brought to light by the works of such scholars as Gayatri Chakravorty Spivak and Edward Said. I am grateful that the Guggenheim for bringing his works to the attention of a greater public, and to my attention. Quite frankly the exhibit  left me wanting more. I not only wanted to see more of V. S. Gaitonde's work, I wanted to know the man.

I agree with the New York Times in their January 1, 2015 article about VSG's work: " It is by a 20th-century Indian modernist who looked westward, eastward, homeward and inward to create an intensely personalized version of transculturalism, one that has given him mythic stature in his own country and pushed him to the top of the auction charts." Charts and

auction prices aside, the work I saw is the work of a true artist, one who transcends not only his geography but his historic moment to express the personal that is also the universal truth of life. His large canvases are monochromatic. There is a simplicity to them yet also a complexity. At first glance they are monochromatic studies of color. This draws you in and then you realize the world of detail that you have dropped into. The paintings are landscapes and portraits. For me they were uniquely Indian as well. The red one for example was an immediate connect to the myths of Kali and Durga and the female principle of the divine. There  was another large oil on canvas that had me literally tasting curry and smelling cardamon. Yet as a western viewer I saw clearly Rothko, Klee and others, even as I realized VSG was simply Gaitonde.

In the earlier work, before 1970 or so, one sees more clearly the classical Western approach to modernism. Even a cursory google search of VSG's life and art reveals him as a hard working, spot light shunning, man who painted in a one room apartment in Delhi that also functioned as his studio. He never married and never had children.  He worked in the community of artists and can be seen with his fellow painter chums, yet still worked outside of them. He reminds me of Henri Michaux that way -- with the Surrealists but not of them. VSG was a singular, rather solitary painter, well known as a member of the Bombay school of painting, not reflecting them but from within that bathwater marking his own strokes of genius. This then is what he offers.

Within the forty five pieces I recalled Moghul minatures, hindu temple art, flashed back to my visit to the cave murals of Ajanta, north of the city of Aurangabad, recalled Jain painting, and also the artists Klee, Rothko and many more. His oils include calligraphy from the written Indus Valley and Harrapan languages as well as compositions influenced by the Hill Korwa Tribe now extant as well .

Here is an artist who cast a wide net and then spoke in his own breath creating technique and producing works that put the words such as derivative, global, Western, Eastern, even modern to a special light. During a 1962 show at MOMA he said: my painting  “was done on wet white with a roller and painting knife.” VSG used a roller and a knife, pasting on rolled up paper that was painted several times, to give layers that showed the arguably Indian notion of simultaneous creation and destruction translated to fields of light, color and form. As he told MoMA, “I aim at directness and simplicity.”

Do not miss a chance to see this show at the Guggenheim. It ends the eleventh of February. Hurry. You may see me there again. I hope we will be seeing more of Vasudeo Santu Gaitonde’s works here.