WHO Bengaluru-based Subbaiah creates in many media, from sculpture to text, audio, video, electronics and informatics. He got his Master of Fine Arts (Sculpture) from Royal College of Art, London. He has exhibited at Saffronart and Bose Pacia, New York, Fort Vuren, The Netherlands, The Japan Foundation Forum, Tokyo, Chatterjee & Lal, Mumbai, and Vadehra Gallery, New Delhi.

What is the one incident that changed or formed your artistic vision?
There is no one great incident that has formed my vision. There have been little things over time. I think I’m still waiting for that big vision to strike. After that happens, I’ll stop making art. I’m waiting to be enlightened.
As an artist, do you subscribe to societal notions of sex and love?
I think this question is neither this way nor that way. Societal norms are something that have survived and evolved over many years, so all of them aren’t necessarily bad. One has to negotiate with them. In art, it has become a convention to be anti-conventional. That is a problem.
What is the one thought or feeling you have never been able to translate into art?
I don’t think I strictly translate ideas into art. It is not necessary that I start out with a specific idea. Many times, while I have been playing around with materials, something has struck me. Sometimes I work to find meaning. That is when I become the medium rather than the author of ideas.
What’s been your greatest moment of distress or exhilaration?
Distress? I don’t think I’ve had such a moment that would cause a mental breakdown. I was distressed when my girlfriend left me. Exhilaration was the opposite of that.

Biggest influence/mentor?
I’d say these two artists who are not very well known; Robert Filliou and George Brecht.
Why do you think art need not serve any purpose?
When I say purpose I mean it in a functional and utilitarian sense. Most people see art as entertainment, a way of deriving pleasure. It’s not like I’m building a bridge here. So if I make a mistake, there is no great harm in that. It’s just bad art.
Aradhna Wal is a Trainee, Features with Tehelka.
aradhna@tehelka.com
‘In art, it is conventional to be anti-conventional’
Master takes
Compiled by Aradhna Wal & Naina Manjrekar

Clare Arni On Art
I would like to recommend Venugopal VG and his stop-motion animated video Elusive Entry. He is a talented artist who combines his technically skilled and beautiful drawings with stop-motion animation. His work was part of a show I saw in Bengaluru, curated by Lina Vincent, called I Am Here, about the self portrait through the use of the moving image. Apart from his technique, his ideas captured my imagination. He says so himself, “The self is involved in chasing the intangible urban dream.” This is a question being faced by many of us in India as the country goes through rapid changes.
Arni Is A Bengaluru-Based Photographer
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Mridula Koshy On Books
Waiting for the Barbarians takes its shape from allegory, a form J M Coetzee is known to employ. On recent rereading I was astonished again by how very un-allegorical he can be, accreting meaning and nuance – an endless dimensionality – to ethical and moral dilemmas. Whereas allegories are so often about resolution through simplification. Perhaps this old-fashioned form with its need to impose tidiness on the world is the very ground from which to resist tidiness.
Koshy Is A Delhi-Based Writer
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Warren Mendonsa On Music
Field Music is a British band with a very British sound that reminds me of The Beatles. They have very hooky melodies that are easy to sing along to. However, there is also some very intricate music going on simultaneously. They are more of an album band than a group that produces one-off hits. My favourite album is Measure. Then there is the US-based Tedeschi Trucks Band. Their debut, Revelator, won the 2012 Grammy Award for Best Blues Album.
Mendonsa Is A Mumbai-Based Guitarist And Composer
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Purab Kohli On Film
I love wildlife movies, but there is one I found particularly captivating: a documentary that I watched recently called And Man Created Dog. Unlike the usual wildlife documentaries, it does not only show the life cycle of an animal but also the evolution of a relationship through history. It shows how man and dog have co-evolved. More than a simple narrative, it’s about man and his best friend contributing to each others’ social development. I love animals, so I guess I enjoyed a dog’s life.
Kohli Is A Bollywood Actor
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Gaurav Sachdeva On Food
I recommend a place already well known. The Big Chill Café, in Khan Market, New Delhi. My wife introduced me to it. Though I’ve only had the pastas there, I love the food. The spaghetti or penne go very well with a side order of garlic bread. They have some delicious exotic mocktails too. The place is very casual. People feel relaxed, instead of being suffocated by a formal atmosphere. The posters they have, from classic movies and ads to contemporary pop-culture, add to the charm of the place. The clientèle is mainly young professionals and college-goers.
Sachdeva Is The General Manager Of Spice Water Trail, New Delhi
‘If my mind isn’t free then I cannot be an artist’

WHO This Delhi-born-and-based artist got her Diploma in Applied Arts (ITI) from South Delhi Polytechnic, New Delhi. Her works are steeped in the feminine body, subjectivity and sexuality. She was awarded the Lalit Kala Akademi National Award for Women in 2007. She has exhibited at A Jain Marunouchi Gallery, New York, Gallery Art and Soul, Mumbai, and The Nehru Centre, London, among others.
What is the one incident that changed or formed your artistic vision?
My vision is the result of childhood stories my grandfather told me. My works are a witness to the visual interpretation of his experiences and his perspective towards life. His stories of mythology gave my mind the wings to go into the world of the fantastical.
As an artist, do you subscribe to societal notions of sex and love?
I never like to be influenced by societal norms. The choice to be an artist was to say what I want to through my art, to be true, free and liberated in mind. If I am not that then the very basis of my choice is negated.
What would be the magnum opus that you’ve never created?
Art is a process of realising my thoughts. If a thought comes to my mind, then the artwork has already been created in my mind. What is left is putting pen to paper, to show it to the world. As such, I have never felt an inability to translate my thoughts to paper but the struggle is to always take my work to a greater level of execution.

What’s been your greatest moment of distress or exhilaration?
The birth of my children gave me the greatest joy. It was the first time I was part of the miracle of life so closely. The realisation that I had lost the physical presence of my mother in my life was a moment of great distress.
What is the one demon you grapple with in your deepest relationships?
The fear of losing them.
Tell me a little about your leitmotif, the golden womb.
It refers to sun, that source of constant positive energy, which rejuvenates and recycles all elements in this universe, making death a transitory space in this mysterious journey of unending life. I am amazed at this untiring rhythm of creation by the Golden Womb.
Aradhna Wal is a Trainee, Features with Tehelka.
aradhna@tehelka.com
Master takes
Compiled by Aradhna Wal & Naina Manjrekar

Satadru Sovan On Art
I’d like to recommend Thukral & Tagra. They are two Delhi-based artists that I have been following recently. They do collaborative work and exhibit at Nature Morte Gallery, New Delhi. Despite the initial impression that it gives, their work is realistic and not surreal. Their exhibition Put It On, at the Bose Pacia, New York, was a major hit. It was a project on AIDS awareness and safe sex practices in India, especially amongst the Indian youth. They used real people and flowers. They are into both installation art and painting and they are renowned for their detailing. Their work is like a new-media project.
Sovan Is A Delhi-Based Artist
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Karthika Nair On Books
Annie Zaidi’s collection of essays, Known Turf, is arresting and unforgettable; about realities we prefer didn’t exist. Starvation deaths, female infanticide and communal intolerance step out of the anonymity of statistics to become people like us. They remind us of our defence mechanisms in the face of horror and sorrow; our efforts to stay sane and functional.
‘The essays remind us of our defence mechanisms to stay sane in the face of horror’
Nair Is A France-Based Poet
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Sidd Coutto On Music
Lily Allen sounds like a spoilt British girl, talking about whatever comes to her mind, and I love that about her. She is honest in her lyrics. She isn’t trying to be symbolic or construct grand meanings out of her words. Her songs are very catchy, and the production on them is of excellent quality. They have a reggae-dance style. I love that style, because it’s something I can’t do myself. I liked her first album,Alright, Still. The second one got too commercial.
Coutto Is A Mumbai-Based Singer-Songwriter
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Vikas Desai On Film
Ritwik Ghatak’s Meghe Dhaka Tara is the perfect fusion of the subject and its creative manifestation. The total involvement of the maker in the totality of the film is very evident. It throbs with the genuine concern, mastery and passion of Ritwikda. The use of triangular composition, the minute attention to background activity and above all, the magic created by one of the most eloquent soundtracks in Indian cinema — subject for a thesis by itself. It makes me fall in love with cinema all over again.
Desai Is A Mumbai-Based Filmmaker
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Tausheed Ahmed On Food
I am always on the lookout for something different from the Indianised food we usually have. Cuisines such as Italian are much more preferable. The Delhi restaurant Spaghetti Kitchen, located in Tagore Garden, seems to fit the criteria. It is a cosy place, ideal for dining with your friends. The food is delightful, so is the ambience. Their menu consists of all the mainstream Italian dishes such as pastas, risottos, rosetta, pizzas and so on. The service is efficient and the entire experience is value for money. An average meal with decent portion sizes there would cost you only around Rs 400-Rs 500.
Ahmed Is The Manager Of Barbeque Nation, New Delhi
Master Takes
Compiled by Aradhna Wal & Naina Manjrekar

Rohit Chawla On Art
I generally don’t go for exhibitions twice. However, I broke that rule for Ashish Soni’s installation Absolut Soni: 20 years in Fashion — Retrospective Exhibit, at the Aman Hotel, New Delhi. A first-rate show, it could easily be in The Metropolitan Museum of Art, New York, or any other internationally renowned gallery or museum. It makes mincemeat out of the mediocre exhibitions by other, usually better, artists. It showcases 20 years of his life in the fashion industry, and incorporates some of his greatest work. The colour palette is black and white with a superb finish. It is one of the best things I have seen by a designer.
Chawla Is A Delhi-Based Photographer
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Usha KR On Books
Edith Wharton’s scintillating The Age of Innocence is set in turn-of-the-century New York, a diamondhard society that lives “in an atmosphere of faint implications and pale delicacies”. The love triangle recognisable even today — a couple disrupted by a sophisticated, irresistible outsider’s allure of forbidden experience. Wharton manages to be evenly sympathetic to all her characters.
‘The couple in love gets disrupted by a sophisticated and irresistible outsider
Usha Is The Author Of A Girl And A River
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George Mathen On Music
I’ve been listening to the 1970s progressive rock these days; King Crimson, Yes and Genesis. Genesis was truly great when Peter Gabriel was part of the band. All three bands never had any hit singles at the time, but gathered a cult following because of their concept albums and kick-ass album art. They had weird music and time signature changes. Phil Collins was far more interesting as the drummer of Genesis, than as a vocalist.
Mathen Is The Drummer Of Bengaluru-Based Lounge Piranha
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Ranjan Palit On Film
Tsai Ming-Liang’s Goodbye, Dragon Inn is a film about oddballs watching an old martial arts movie in a theatre about to shut down. It is about lost connections, isolated souls, bygone times and the demise of celluloid. Two old men from the audience lament the fact that their films aren’t watched any more. We realise that they were the combatants in the old martial arts movie. In the last scene, the usher pulls down the shutters, walks out onto the street in the rain and Tsai’s static camera, holds the frame as she walks away: a passing on…
Palit Is A Kolkata-Based Documentary Filmmaker
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Ritu Dalmia On Food
Zambar is one of the best places for south Indian coastal cuisine in Delhi. Located in Vasant Kunj’s Ambience Mall, its USP is the food’s home-cooked-like freshness. The person in charge of the kitchen is ex-filmmaker Arun Kumar, who left his old career for his love for food. My favourite dishes are the meen moilee, the thick dosas that are to die for, and achamma lamb curry. They also experiment with Parsi and Andhra food. The flavouring and spices are always very well executed. The clientele is generally people who love food, like big Punjabi families. It’s not a place to be seen at, but to eat your heart out.
Dalmia Is A Chef And The Owner Of Diva, New Delhi
‘Since I can’t do real science, I fake it with art’
WHO: Bengaluru-based Hazra graduated from the Srishti School of Art, Design and Technology. As an artist and an occasional writer, his work often uses performance, text-fragments and the idea of the ‘thought experiment’. Hazra has exhibited at MAXXI Museum, Rome, Galleryske, Bengaluru, Experiment Marathon, Reykjavik, Thomas Erben Gallery, New York among others.

What is the one incident that changed or formed your artistic vision?
Trying hard to hear the colour of transition metal ions by shaking a partially filled tin of puffed rice and wasabi electrons.
What is the one feeling you’ve never been able to translate into art but wish you could?
My amnesia and my impending senility.
What would be the magnum opus that you’ve never created?
I am just a precarious tradesman of ginger — what do I know of ocean liners? I’m paraphrasing an old Bengali proverb here. Also, a magnum opus is nothing but a gilded prison house.
Who is your biggest influence and/or mentor?
PK Ghosh of Eastend Printers — printer, scholar and connoisseur of typography. DD Kosambi — the great navigator of large spectral bandwidths. And the mathematician Georg Cantor for pursuing through his Infinity Project even though he had dust allergy.
Two fundamental values you wouldn’t give up for anything?
An absolute faith in my own incompetence and an abhorrence of ‘accessible’ communication.

Why or how did you decide to fuse science and art?
Since I can’t do real science, I fake it with art.
Do you have dreams in digital?
Even after keeping an oscilloscope next to my bed, my dreams turn out so terribly boring that it puts me to sleep.
What stimulates you artistically?
I have no capital, but I have interests. And art allows me to explore them for free.
Are you politically involved with your art?
Saying that everything is political would be banal. But I have always been fascinated by the various prefixes of ‘lysis’ — ana, para, dia, cata.
Aradhna Wal is a Trainee, Features with Tehelka.
aradhna@tehelka.com
‘My work and I have changed after facing sudden deaths’
WHO: Mumbai-born and based, Acharya received her Masters in Painting from the Maryland Institute College of Art in 1998 and has been showing internationally since. She was awarded the Aditya Vikram Birla Kala Kiran Puraskar and nominated for the Joan Mitchell Foundation Award in 2006. Her paintings have been shown in museums, galleries and art fairs around the world.

An incident that changed or formed your artistic vision?
I began painting my memories of home soon after moving to the US in 1995. I was homesick for Mumbai. I realised I loved painting and decided to do my Masters — a huge learning curve. I continue to draw (pun intended) from my life experiences. My work is an emotional diary.
What is the one feeling you’ve never been able to translate into art but wish you could?
Love. It is hard to paint about love without the work looking mawkishly sentimental.
What’s been your greatest moment of distress and fear?
Distress — when I lost my best friend and wonderful life partner of 16 years (and very talented filmmaker) Manish Acharya in an accident in December 2010. Fear — March 2010, on a plane back after my New York solo show, wondering if my father was alive. He wasn’t.
In your deepest relationships, which is the one demon you’re grappling with?
Fear—of bodily harm, disease and death of my loved ones.

You paint an undercurrent of violence in women’s lives.
We’re part of a world that is still unfair to women — from a general lack of respect in society, the teasing and molesting, to unequal pay and low priority for girls’ education, to marital violence, rape, the killing of the girl child and human trafficking — women, in general, still have to live with fear even as the world is supposedly progressing.
What part has your personal tragedy and loss played in your life and art?
My life, my work and I have forever changed after having to face sudden death. Learning to live this new life, with the constant heartache and awareness of death, is extremely difficult. Yet I am aware of how lucky I still am. I am also acutely aware of the transient nature of everything in life. I think my new work reflects this.
Aradhna Wal is a Trainee, Features with Tehelka.
aradhna@tehelka.com
Master takes
Compiled by Aradhna Wal & Naina Manjrekar

Korou Khundrakpam On Art
Seoul-based collective Young-Hae Chang Heavy Industries is one of the most intriguing figures in web art. It is made up of Marc Vogefrom the US and Young-hae Chang from South Korea. They work with animated text synchronised to a jazz background score, which is mostly their own composition. Nonchalant and yet provocative, their work is full of humour integral and peculiar to the form. One of my favourites is The Art of Sleep, a work commissioned by the Tate Online, in which they ponder upon the futility of art and everything at large. It is narrated as an insomniac’s midnight revelation of the ultimacy of futility.
Khundrakpam Is A Delhi-Based Artist
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Rani Dharker On Books
The Lovely Bones by Alice Sebold is a strange, haunting narrative by a 14-year-old girl who was raped and murdered by a psychopath. From heaven, Susie sees her family come apart because of the tragedy, how the murderer behaves, and her own ties to her people. That first scene of the true horror of rape and murder jolts the reader into realising what the victim really goes through.
Dharker Is The Author Of The Virgin Syndrome
‘The book shows the horror of rape and murder and what the victim really goes through’
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Stefan Kaye On Music
Cardiacs were UK’s most daring and original act throughout the 1980s and ’90s. They were without precedent, yet deployed ridiculously catchy hooks and beautifully majestic phrases, which won them a legion of fans. With mad energy, a stage show incorporating elements of absurdist theatre and the most unhinged sounds, they opened my eyes to what’s possible, live.
Kaye Is A Delhi-Based Musician With Emperor Minge And The Ska Vengers
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Amit Kumar On Film
Mauvais Sang (Bad Blood) is a stylised near-futuristic heist film set in Paris. An American woman blackmails two over-the-hill gangsters to steal the antidote to a new disease that kills youngsters who have sex without love. They hire Alex (Denis Lavant) to do the job. Though he has a lover (Julie Delpy), he falls in love with Anna (Juliette Binoche), one of the gangsters’ lover. The graphic visual style makes this movie worth the watch. It may not be Leos Carax’s best film, but you can’t miss the touches of genius in it.
Kumar Is The Director Of Monsoon Shootout
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Manoj Bhatia On Food
Royal China in Nehru Place, Delhi, is a fine-dining place that I frequent. Though expensive, it is worth it. They come close to authentic Cantonese cuisine, instead of the heavily Indianised versions you get in most places. Their speciality is the delicious dim sum. I recommend the Siu Mai. The Peking Duck is also excellent. The restaurant is done-up in black and gold with Chinese lanterns, in keeping with the theme. The best part is its location. It is on the 16th floor of Eros Towers. You get a beautiful view of the Delhi skyline while you eat. It adds tremendously to the whole experience.
Bhatia Is The Manager And CEO Of Uber Lounge, New Delhi
'Any act and manifestation of terrorism is unconditionally forbidden, prohibited and against Islam'

Dr Muhammad Tahir-ul-Qadri has been one of the most unreserved and candid voices against terrorism. The 61-year-old Pakistani is the founder of the Minhaj-ul-Quran Internations, a Sufi-based NGO that works for the welfare of Muslim youth worldwide and especially in Pakistan. In 2010, he decreed the Fatwa on terrorism to widespread attention and international coverage. It was released in India in the form of a book, Fatwa on Terrorism and Suicide Bombing, on 22 February 2012 at the India Islamic Cultural Centre. He talks about how to combat extremism at a grass-root level.
Tell us a little about your book.
The problem of extremism and terrorism started in the last decade or two. Statements of condemnation were given, but they were soft statements, containing ifs and buts. There was not a single book written on this subject in a comprehensive way, consisting of Quranic evidences, juristic evidences from the great Islamic jurists. There has been no comprehensive, theological, jurisprudential perspective of this subject in the light of the Quran. This is the first book of its nature in the history of Islamic literature.
Who specifically made these statements of condemnation?
Various scholars around the world have been giving these statements. Some were soft, some were very brief. Some were just like declarations. They were messages of peace, but none of them contained any evidence. The youth, who are brainwashed, given distorted versions of Islam, and are exploited for ulterior motives, parrot these teachings and verses with wrong meanings; without any context. So these statements were not in a position to change their minds. They couldn’t refute the teachings these youths were given. This book not only refutes, but also provides evidence, without any conditions, that any act and manifestation of terrorism is unconditionally forbidden, prohibited and against Islam. That’s the theme.
This fatwa against terrorism was issued in 2010. And hailed by many prominent thinkers. How effective has it been since?
I’ve seen it become very effective. It’s created an ample impact. When it was issued in London in 2010 there was a very big resistance, on Youtube, on the Internet. The story started with massive opposition. The youth, who I am primarily concerned with, was a little shy or weak in responding. But as time passed, the graph changed. The minority became the majority. The supporters of extremism became the minority. And hundreds of thousands of websites and blogs came up supporting the fatwa. In every language — Arabic, English, French, Norweigean, Danish, even Chinese. We received a lot of comments from the youth, those who didn’t even belong to our organisation, saying that we had changed their minds, and even saved their lives and their faith.
If the youth were slow to respond, whose was the most immediate positive response?
The youth online was a little hesitant to reply. But within two weeks there was an overwhelming response. Now that they had this concrete reference book in their hands they had something to refute extremism with. The best thing is that in the two years that have passed, not a single scholar among the extremist camp has been able to refute this book or fatwa. Not a single booklet or pamphlet has been written with evidence which could discredit it. This has created a further impact on the youth who were exposed to the extremists. They have started questioning the ideology and asking for answers from these camps. Their silence on an intellectual, theological, jurisprudential level has caused a great damage to their ideology. I won’t say that the acts have stopped, but this is still big, because ideology is the first thing with which they brainwash the young Muslims.
While we’re on the subject, the softest target group for recruitment is the unemployed Muslim youth, who are angry at their socio-economic condition. This is prevalent in a lot of countries. How do you and the Minhaj-ul-Quran deal with such a problem?
I’ve always maintained that religious extremism is only one aspect of the problem of terrorism. There are others too. I haven’t discussed them in this book as I didn’t want to expand the subject so much so as to dilute the main point. But yes there is anger, there is poverty, there are socio-economic conditions. Those exposed to them are easily accessible to extremist recruiting camps. The boys are easily picked up because they have nothing to eat, no money, no schools. They have lost their loyalty to the law, to the land and to the system. These groups provide them monthly scholarships and allowances. The first step to counter extremism is to fight poverty.
The most important is reforms in the education system. Minhaj-ul-Quran invests and spends on education. We are recognized as an NGO, we’ve received the special consultative status with the UN. We try to establish schools in various parts. We encourage people to establish schools in their own districts. And we have not established a single Madrassa. We combine secular and religious discipline, for boys and girls. Duly recognized syllabi of the government and then scriptures are taught as disciplines. Now we have 600 schools in Pakistan alone, and they are all giving top ranking results. We have established colleges, and technical education and vocational centres to train and provide for jobs. We’ve established the Minhaj International University, which is chartered by the government of Pakistan. Its degree is equivalent to a degree from Jamia al-Azhar of Egypt. It has all disciplines. We’ve also established mass education centres and adult centres in rural areas. They are set up for six months to a year for the local community that couldn’t go to school. We get people of all ages. Then there are our welfare centres, which work with juvenile delinquent boys, trying to reform and integrate them. They work on improving family relations, between parents and children and husbands and wives.
You work with employing the methods of Sufism. Could you elaborate on that?
I believe and practice Sufism. But my Sufism is not what is found commonly in different places. I believe in the true Sufism, as taught by Khwaja Muinuddin Ajmeri. Not as practised by the caretakers now. I follow the saints, who taught self purity, purity of the soul, mind and heart, to try to do spiritual acts in service of god and mankind. These are the basic spiritual values that connect the mind with the creator. And these are what I employ in the teachings in our schools. This Sufism teaches love, tolerance, and patience. It counters anger, extremism, frustration — the basic elements that lead to terrorism.
There has been a growing Wahabi influence in South Asia. In the last few years many Sufi shrines across Pakistan have come under attack. South Asian Islam has primarily been Sufi Islam. How do you ensure that continues?
I will not comment on Wahabism, or South Asia. As far as Sufi principles are concerned, I will give this message to followers of Sufism. If they practise the true values of Sufism, as I have mentioned, it will never die. Sufism is not a tradition or a hodgepodge of certain acts. It is just something that deals with the purification of the soul. Traditions and conventions cannot do that. And the spirituality is a common factor in all religions. It is universal.
Seeing as how the entire Islamic community has become dangerously stereotyped, how do you plan to spread more awareness about the true non-violent nature of Islam?
We have to work with both sides; to teach the Muslim community and also the Western world. Words have to change. We cannot call it Islamic terrorism or Islamic extremism. Attaching the word Islam or Islamic with these criminal acts provides the perpetrators with legitimacy, to ground their acts within the tenets of Islam. And tell the youth that they really are Islamic, as if terrorism has a place in Islam. We have to de-link the terrorism from religion.
How do you reach out to the Western world, and even other countries?
Wherever I go, my audiences always have non-Muslim members of society. Just last year, on the 24 September, we had a huge conference on Peace for Humanity, at the Wembley Arena. It was attended by 14,000 people. World leaders were on stage in their traditional dresses. We all collectively prayed for peace under a single roof. We try to promote commonalities, not difference, to promote an atmosphere of dialogue. People who promote differences and disputes do a dis-service to religion.
But how do you reach out to the common man dealing with these stereotypes in day-to-day lives?
It is a slow process. It will take some time. But the more you do the better it is. The practices I have started in certain areas can be adopted in different areas. For example in Pakistan, people from different practices come to Minhaj-ul-Quran and we sit together and have joint functions in our mosque. We participate in the holy activities of other religions, with the Naulakha Church of Lahore, and the Nila Gumbad Temple, the famous Hindu temple in Lahore. We go to them and they come to us. If you practice these things at the grass root level, it will slowly spread awareness among people that different religions are not there to hate one another.









‘Talking To Skilled Artists And Speakers Distresses Me’
WHO: This Bengaluru-born artist’s work is a social and political commentary on India. Based out of South Korea, he feels that living in a different culture allows him to observe and create better, works on India’s underbelly. His art has been exhibited at the Arario Gallery, Beijing, Seoul and New York, Gallery Chemould, Mumbai, and The Saatchi Gallery, London. He was shortlisted for the 2011 Škoda Prize

LN Tallur 40, Artist, Photo: Soumik Mukherjee
An incident that changed or formed your artistic vision?
In 1997, I stayed at Cholamandalam Artists’ Village for a year. The experience was such an eye-opener that I almost gave up on being an artist. All notions of glamour dissipated by the end. At least I was a harmless student and not in competition with the professional artists living there. I understood the rat race in the art community; the jealousy, the unsaid competition, back-stabbing and slaving for art galleries.
What have been your greatest moments of fear and exhilaration?
I get distressed talking to two kinds of people. The skilled artist and the skilled speaker. Both make you feel that whatever they utter is of profound greatness and of long-lasting effect. Anybody who interacts with them either agrees with them or feels that they are listening to something great that is beyond their reach. But I get excited when researchers talk about their work. Even when the language is a barrier I can still understand them. For example, a few of the TED Talks. I’m a fan.
Who is your biggest influence or mentor?
During my training at the Prince of Wales Museum, Mumbai, I visited exhibitions every week at Jehangir Art Gallery. I asked my curator, Dilip Ranade, how these artists dared to show such bad works in public. He told me to note down in points, what exactly were the bad things that I saw. This exercise in analysis opened my eyes. Now I know at least what I should not do.
One thing in your life you’d change? Why?
If there is something that I would change, it is the thought that I can change things. The span of life around us is on such a large scale that if a human being, in a span of 70-90 years, thinks they can or has changed the life around them, I would call it an insane joke.
Aradhna Wal is a Trainee, Features with Tehelka.
aradhna@tehelka.com