Features

Bawa Art Industry: Lunuganga, and Chandrajeewa Atelier: Wennappuwa

Published

5 years ago

2022/04/2

Geoffrey Bawa, Sarath Chandrajeewa and Anjalendran at the exhibition, "100 Impressions on Bronze", 1994, Sri Lanka National Art Gallery.

By Dr. Laleen Jayamanne

Art history annedotally

The pioneering Viennese Art Historian Alois Riegl wrote a book that was not very popular among traditional Anglo-American art historians but some of us film theorists poured over it, the prose a bit dry in translation, but with some powerful ideas. The book is The Late Roman Art Industry, an examination of the industrialisation of production in late antiquity (during the last stages of the Roman Empire), of previously handmade craft-work. Because film is an industrial artifact, this book provided some lateral ideas to us to think of the deep history of industrialisation of goods as commodities, including film and idea of legal contracts. But more urgently, it helped us to begin to understand the industrialisation of thinking in the Neo-Liberal globalised University. In Australia, we were ordered to produce more and more, faster and faster. No one spoke about quality. Hardly anyone had time to read each other’s work anymore and most tragically, students just speed-read bits and pieces without reading arguments carefully and thoughtfully. The globalised art industry of Biennales and Triennials, and mushrooming film festivals, are also products of this same dynamic of Neo-liberal capitalism where the market rules, after the dissolution of the Soviet Republics in 1991.

Within this savage market economy, talented artists become hyper competitive and are in danger of developing a repetitive formula. And curators may unwittingly encourage narcissistic mirror games, conforming to their perception of what matters. This creates weak art over time, deskilling artists and also cliques who operate through exclusionary tactics, where artists who do not fit in are shut out of the art and film history narratives and collections. In the fractious small art world of Sri Lanka this situation needs to be discussed openly, calmly and with rational rigour. This is my aim here as a Lankan who lives in Australia but who is engaged to some extent with the contemporary Lankan film culture, as a scholar of the Lankan cinema for over 50 years.

Riegl, was a founding figure of the discipline of art history, working in Vienna at the peak of its intellectual, artistic and political power in Europe just before the demise of the Austro-Hungarian Empire with World War One. He was also the curator of Islamic Art at the Museum of Decorative Arts in Vienna and the famous exhibition of Islamic fabric and carpets he curated just before his untimely death in 1905, was also visited by Henri Matisse. So an ancient Islamic civilizational crafted material and European high Modernism came into a generative contact in an imperial Art Museum. (Art history was invented by Winkleman at the Vatican museum, after he converted to Roman Catholicism. He studied Greek art there without ever going to Greece!). Riegel also lectured at the University of Vienna. There, Klimt’s famous allegorical murals caused a controversy and rejected, therefore an art historian defended them by giving a lecture titled, ‘What is Ugly?’, considering it seriously as an aesthetic category of Viennese modernism and of avant-garde art. And his far ranging books, on the Historical Grammar of the Visual Arts, and on ornament in particular, still provide vital ideas on ornament as a mode of thinking, a power of connectivity, rather than just prettified, picturesque, vegetal motifs. He starts with Egypt and arabesques his way through epochs of great cross-cultural exchange in trade and ideas and also wars.

Lankan Scholar/Artists

I am writing about this stuff now hoping that Lankan art historians and curators might just be tempted to consider seriously the work of two Lankan artists working in different art forms but both of whom are also scholars in their own right and are University Professors. Doing so would, I expect, considerably strengthen the intellectual discourses on art, connecting them to wider political and cultural ideas across social class, caste, ethnicity, languages and genre boundaries in Sri Lankan cultural production.

According to my brief non-specialist research, (being a film scholar and critic), Sarath Chandrajeewa is considered, by some, to be Sri Lanka’s preeminent contemporary sculptor working in Bronze and Terra Cotta (rathu mati), for well over 30 years. He was the star pupil of Tissa Ranasingha, with whom he studied bronze casting on a government scholarship, at the Royal College of Art, London. Ranasingha is considered the pioneering Lankan sculptor (monumental, portrait, and other), of the modern era after independence. Chandrajeewa also paints, and has produced large clay figurative relief murals of ‘the people’, and abstract tiled murals in a pedestrian tunnel, and has had a scholarly publishing project of significance for Lankan art history, and cultural theory more broadly, in my non-specialist opinion. But, I have been schooled by working in a Department of Art History and Film at the University of Sydney for a few decades, because ours was an interdisciplinary department. Chandrajeewa also founded with his patron, Harold Peiris, the Contemporary Art and Crafts Association of Sri Lanka (CACA) in 1990, to organise exhibitions and it still functions as a research institution. Like Riegl, he has published work off the beaten track of the art history protocol of specialising on one period, digging the same strata in delicious detail and not treading on jealously guarded intellectual ‘private’ territory. This approach of art historians, I think made rigid by the American academy, was a source of amazement to us film scholars because our discipline was organised differently, a bit unruly, with a much shorter history than art has and was inter-disciplinary in its very formation as film is a popular technological commodity, made for entertainment and making profit, first and foremost, with aspirations to become Art.

***

Professor Sumathy Sivamohan is the only independent woman filmmaker who has produced a significant body of films, exploring the muti-ethnic polity of Sri Lanka from the point of view of minority communities. While her body of work is still growing, she has a clear project of examining Lankan Nationalisms from the point of view of minority communities. Her Sons and Fathers is in Sinhala exploring the multi-ethnic formation of the Lankan film industry from its very inception. The civil war and its aftermath is the background to her research. As a professor of English, she is also a literary theorist who also teaches film and producers scholarly work. I am hoping that the few observations I make here may arouse a curiosity at the very least, to create opportunities to engage with her work seriously. Interdisciplinary dialogue has been essential for a long while now in any serious progressive public sphere of culture and without deep scholarship, what you often get is mere ‘art-speak’ one hears on Youtube, sometimes lively and generous and fun but often lacking the intellectual bite of complex ideas that one can take up and wrestle with and further explore by reading widely and debating, discussing and then use to further our understanding by writing. Sivamohan’s and Chandrajeewa’s work also happily converged in the book of poetry called Frames edited by the latter, forthcoming in late 2022, if there is no paper shortage! The name derives from the large stacks of door and window frames which have lost their functional utility after bomb blasts in Jaffna during the civil war.

The images of these blasted buildings, and their intact solid door and window frames share a space with the poetry and movingly enframe them. The book is an attempt to speak to that void across the linguistic barriers. Among the poems there is one by Sivamohan and also by her sister Dr. Rajani Thiranagama, her sister, who taught Anatomy at the Jaffna University and was assassinated by a LTTE gunman as she was riding home after teaching, within ear-shot of her home. Her photo is the only human face in the book. And I believe Sarath and Sumathy have not met each other as yet, except for a chance brief encounter at a meeting of artists, with the then President Maithripala Sirisena. Sumathy was the only artist there who spoke in Tamil, with a translator. And what better place to launch Frames than at MMCA that uses all three languages with a very long term record of engagement with promoting art making in the time of the civil war, especially in Jaffna and unusually have poetry readings there, too.

***

I gather the field of Sinhala film culture is highly evolved, robust, with heated debates, cult groups, brilliant theorists, a quarterly film journal, Chitrapata Magazine and numerous blogs and newspapers and so on. In the more polite middle class art world the surface is smooth and inviting, tri-lingual now in important institutions, though there is an undercurrent of violence and hostility camouflaged in specific instants, I am discovering, as I do my research. These appear to be of a professional nature. I am all too familiar with this mode of behavior, having taught in several Australian Universities for over 30 odd years and having fought tooth and nail, successfully, an effort to sack me on false charges about my teaching or lack thereof, in a provincial University. Professional rivalries and cruelty are quite well developed in Universities and the tactics and strategy familiar but what’s unique to Sri Lanka is the direct connections academics and some artists have to political power that appear limitless. It is shocking to hear an academic/artist boast of his direct access to people in power and even to the president of the country to deal with one’s conflicts.

Both Tissa Ranasingha and Sarath Chandrajeewa were also academics, the latter a VC of the University of Visual and Performing Art, as well, who tried to fundamentally transform a moribund feudal fine arts curriculum and ethos into a modern one that would educate the students according the best standards of fine arts education practice in the world and to become informed, responsible global citizens. They were both forced to resign due to actions authorised at highest levels of government. This story is public knowledge and I learnt of it only recently from information mostly available on the internet and some passing comments in an art book published in Australia edited by the Human Rights curator and architect of the Asia Pacific Triennale, of the Queensland Art Gallery, Caroline Turner.

***

The Geoffrey Bawa Lunuganga Trust, established after the celebrated architect’s death, has become a visionary educational institution, under the Lunuganga Trust. And the new Museum of Modern and Contemporary Art, directed by Senior curator Sharmini Pereira, aims to make it an inclusive centre of art education in this country and build its collection accordingly. And it is to these institutions that I address a call for an experimental move, of opening an exchange with these two senior scholar/artists. Might the launch of Frames at one of these institutions be the occasion to start this belated encounter? (The concluding part of this article will appear in the Midweek Review of 06 April)

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Features

New US sanctions on ICC, a fillip to worldwide political repression

Published

1 hour ago

2026/10/15

Thilina Walpola

The International Criminal Court in session. UN Photo/Eskinder Debebe

US Secretary of State Marco Rubio’s warning to the International Criminal Court (ICC) was stark: ‘Either the ICC will end its threats, or we will end the ICC.’ It followed US central administration accusations that the court was unfairly targeting Americans on the basis of trumped-up war crimes charges.

However, a new plethora of sanctions has been clamped on the ICC by the US, which in turn has spurred accusations by sections of the world that the latter has unleashed an ‘assault’ on the international legal order.

What some of the sanctions would mean for the ICC was outlined by Rubio: ‘We will ban transactions with this rogue court, cutting off their resources and crippling their ability to operate against us.’

The ICC has shown consistency of purpose over the years. Despite some operational constraints it has indicted a large number of political strongmen from around the world, accused of war crimes and other governance excesses that come under its purview. Two such recent figures are: Russian President Vladimir Putin and Israeli Prime Minister Benjamin Netanyahu.

Rather than enjoy a mere nominal presence in the world community, the ICC has proved its effectiveness by detaining and bringing to justice scores of VIP politicians and others of their ilk who have been found guilty of human rights abuses and kindred excesses that come within the terms of reference of the ICC.

Accordingly, the international justice system would be stymied considerably as a result of the ICC being dis-empowered, particularly financially. Needless to say, potential and real perpetrators of the species of crime coming under the jurisdiction of the ICC would stand to gain most from such anarchic tendencies. That is, political repression globally would be enabled to enjoy a new lease of life.

A detailing of the types of crime coming under the purview of the ICC provides an idea of what it would cost the international community if the ICC’s operations are gravely hampered. They are mainly: genocide, war crimes, crimes against humanity and the crime of aggression.

That is, the part of the world to be worst affected would be the global South, since the latter is awash with the mentioned crimes. Needless to say, a chronically-disaffected South will sooner rather than later undermine the well being of the world dangerously. The world is already being put through these paces.

At the time of writing, ‘illegal migrants’ from the South, for example, are aggravating many a Western economy’s woes, besides creating for them acute law and order issues. The fact that these migrants’ presence goes on to become a virtual test of the migrant receiving states’ ability to forge domestic social inclusion in the face of jingoistic protests by mainly white supremacist groups is evidence of the latter. As is known, the US, to take just one example, has been up against this crisis for quite a while.

Accordingly, it will be in the best interests of the West if ‘illegal’ migrant arrivals on their shores are stemmed. If the socio-political and economic problems assailing the South are effectively managed through North-South collaborative, ‘trouble-shooting’ efforts the causes leading to ‘illegal’ migration and connected issues could be resolved at source as it were. For, it is the aggravation of the South’s material questions that lays the basis for the emergence of repressive and anti-democratic regimes in the hemisphere.

Until such time that the aforementioned issues in North-South relations are visited afresh and addressed urgently, a vibrantly functioning ICC would be needed. For, the latter would prove a deterrent to Southern political and military strongmen, highly prone to power abuse and like excesses, from coming into being in the wake of the South’s chronic material woes and the wars and conflicts that result from them.

It stands to reason then that the US would be acting in its own interests by enabling the ICC to perpetuate its mandate without hindrance. For a crop of issues that impinges negatively on internal law and order would be defused.

Meanwhile, there needs to be a meeting of minds among the rest of the West to put back in place a North-South dialogue process aimed at reducing some of the economic pressures that are weighing on the South.

Since economics usually drives politics it will be in the interests of the world community to scrutinizingly re-visit North-South issues of the past and put in place economic relief packages for Southern publics that would enable them to tide over their material hardships rather than permit the latter to aggravate into social disaffection and eventually armed militancy. It is the latter juncture that paves the way for the emergence of authoritarian rulers in the South who then go on to be a blight on their publics.

Accordingly, the Southern-based global development thinking of the past that envisaged a more equitable world economic order needs to be seen as an urgent need. That is, NAM’s international development paradigms need to be resuscitated to the extent possible.

It is unlikely that rightist governments of the West, such as the current Republican administration in the US, would find these projects feasible, but democratic states of Europe, led by perhaps the UK, are likely to think otherwise. For it would not be beneficial for the democratic world to be having on their hands repressive governments in the South who would be gravitating towards the major military and economic actors of the South, such as Iran and North Korea, who tend to be in constant power struggles with the West.

However, until such time that the mentioned, pro-people initiatives are given serious thought the ICC would need to be enabled by the international community to be in place comfortably and carry on with its mandate of bringing repressive rulers to book. Besides the ICC should pave the way for the peoples of the developing world to enjoy some substantial respite from the political repression and even terror which tend to be their lot.

Meanwhile, the wars of West Asia are relentlessly aggravating the economic hardships of people everywhere, driving the point home to enlightened sections that there is no alternative to peacemaking. A challenge is to convert the US under President Trump to this line of thinking.

Features

Clear, soft and shine-free skin

Published

1 hour ago

2026/10/15

Thilina Walpola

This week, I give you five simple, time-tested homemade remedies that help reduce the appearance of blemishes, control excess shine and leave your skin feeling softer and smoother.

The Honey and Lemon Brightening Dab:

For stubborn blemish marks, this is a classic. Mix one teaspoon of pure bee honey with three to four drops of fresh lemon juice. Apply gently, only on the affected spots, and leave for 10 minutes before rinsing with lukewarm water. While honey soothes and softens, lemon helps to brighten naturally. Use twice a week in the evening.

Besan and Rose Water Oil-Control Pack:

An ideal remedy to combat shine, especially on the T-zone. Take two teaspoons of besan (gram flour) and mix with sufficient rose water to form a smooth paste. Add a pinch of turmeric for its antiseptic goodness. Apply evenly, keep for 15 minutes and wash off. It absorbs excess oil without over-drying, leaving a beautiful matte finish.

Aloe Vera and Cucumber Ice Soother:

Blend fresh aloe vera gel with the juice of a grated cucumber and freeze the mixture in an ice tray. Each morning, wrap one cube in a soft muslin cloth and gently rub over a cleansed face for 30 seconds. It calms, tightens pores and imparts a baby-soft smoothness.

Oatmeal and Curd Gentle Polish:

Roughness and old blemish marks need gentle exfoliation. Combine one tablespoon of finely powdered oatmeal with one tablespoon of fresh curd (yoghurt). Massage very gently, in circular motions, for one minute, leave for five minutes and rinse. It removes dead cells and unveils softer, clearer skin.

Multani Mitti and Green Tea Magic Mask:

Brew some green tea and allow it to cool completely. Mix one and a half teaspoons of Multani Mitti (Fuller’s Earth) with the tea water to make a fine paste. Apply for 10 to 12 minutes – do not let it dry and crack completely – and wash off. It draws out impurities, fades blemishes and bestows a fresh, shine-free glow.

A Gentle Reminder:

As with any natural remedy, always do a patch test on your inner arm first. For those with oily or combination skin, avoid heavy coconut oil application and harsh scrubbing, as they tend to aggravate shine and blemishes.

Features

Compete, shine and be discovered at WCOPA 2027

Published

1 hour ago

2026/10/15

Thilina Walpola

Dream of performing on a world stage? Well, here is your unique, golden opportunity!

The World Championships of Performing Arts (WCOPA) — the one and only official “Talent Olympics” — is the world’s premier global platform for aspiring singers, dancers, actors, models, instrumentalists, etc., to compete, shine and be discovered!

And, yes, this world stage is open to YOU, Sri Lankans living in Sri Lanka and overseas!

Held annually in glittering Las Vegas, WCOPA brings together over 70 countries, all competing for Gold, Silver and Bronze Medals, just like the traditional Olympics.

Lakisha Bernard: Will represent Team Sri Lanka at WCOPA 2027

Outstanding performers vie for the coveted titles of Junior and Senior Grand Champion Performer of the World, with winners and standout participants awarded over $500,000 in scholarships, cash awards and prizes to catapult their education and careers!

Sri Lanka is already making waves! At WCOPA 2026, Natharie Wickramasinghe, representing Team Sri Lanka, made the nation proud by winning a Bronze Medal in the Ethnic/Folklore Dance category!

Lakisha: Accomplished freelance Model and Fashion Design graduate

Recruitment for this prestigious competition is handled through a system of scouts and licensed National Directors — and this is where our very own Chris Rajendra, now based in Las Vegas, and National Director for Team Sri Lanka, comes into the scene.

If you are a singer, dancer, actor, model, instrumentalist — if you have talent burning inside you — contact Chris Rajendra today for registration and, who knows, you may find yourself in Las Vegas, and proudly draped in the Sri Lankan flag, at WCOPA 2027!

The contact address is: Chris Rajendra, wcopa.nationaldirector.sl@gmail.com

or chris.rajendra@gmail.com

Meanwhile, a star is born for 2027, in the form of Lakisha Bernard who is all set to represent Team Sri Lanka at WCOPA 2027.

Originally hailing from the sun-drenched coastal city of Colombo and now carving out her creative career in Canada, 22-year-old Lakisha is stepping into the international spotlight.

This accomplished freelance Model and Fashion Design graduate has officially been appointed as the Team Sri Lanka Promoter for Canada as she prepares to represent Team Sri Lanka at WCOPA in Las Vegas.

Lakisha brings a unique blend of high-fashion sensibility, captivating camera presence and expert garment design to the Team.

Having built her career, from local college shoots to high-glamour concepts, Lakisha’s inspiring journey embodies the true spirit of cultural bridge-building and creative resilience, bringing immense pride and recognition to Sri Lanka on the global stage.

WCOPA 2027 will be held at the legendary Westgate Hotel & Casino, Las Vegas, from 12th to 20th July – the very same iconic arena where the late, great Elvis Presley himself performed!

Your moment is now. Your stage is Las Vegas, so hurry and contact Chris Rajendra.