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K. P. Krishnakumar (born Kuttipuram, Kerala in 1958 - 26 December 1989) was an Indian sculptor and painter. == Background == K P Krishnakumar (1959- 1989) was a charismatic and well-known artist. He was also the leader of the Indian Radical Painters and Sculptors Association. His meteoric career and premature death has made him legendary in contemporary art history. His early childhood and education took place in the village, Kuttippuram, Malappuram District, Kerala State. In 1974, he travelled to Trivandrum and joined the School of Arts. Subsequently, he held a solo exhibition of paintings in 1975. He then joined the college of Fine Arts, Trivandrum and obtained a Diploma in Sculpture in 1981. In Ernakulam in 1980, parallel to the Kerala Lalit Kala Akademi exhibition, he participated in a group exhibition of posters in protest. Thereafter he went to Shantiniketan for a post diploma, and in July 1984 was admitted as a scholarship holder at the Kanoria centre for Arts in Ahmedabad. Shortly after leaving the Centre, he attended the young sculptors camp at Kasauli. Since then he had been living and working in Baroda. Amidst a vibrant sculptural front in the 1980s, he had participated in the Seven Young Sculptors exhibition organized by Kasauli Art Centre and curated by Vivan Sundaram. Krishnakumar soon after co-founded The Radical Painters’ and Sculptors’ Association (1987–89). In 1989, K.P. Krishnakumar committed suicide. Excerpt from Geeta Kapur, When Was Modernism: Essays on Contemporary Cultural Practice in India, Tulika Books, New Delhi, 2000: ‘This Kerala–Baroda group hammered out a militant agenda, arguing that Indian art required a radical interrogation of political and aesthetic issues. K.P. Krishnakumar adopted a heroic agenda in his brief career. He used the figural gesture, often profoundly comic, to taunt the viewer and also to signal faith in the sculptural presence itself. In an act of Brechtian double-take he hoped to reinscribe a lost humanism in the local liberationist politics of his home-state of Kerala, and thenceforth perhaps in (what he might have called) the betrayed map of the nation.’ The 1987 exhibition held at the Faculty of Fine Arts in Baroda brought together the works of KP Krishnakumar, Jyothi Basu, K Hareendran, C Pradeep, CK Rajan, Alex Mathew, M Madhusudhan, Pushkin EH, K Reghunadhan, KR Karunakaran and Anita Dube. This was accompanied by a manifesto entrenched in leftist ideology. The manifesto openly denounced the commodification of art (most notably characterized by Sotheby’s auction in Mumbai that was supported by The Times of India. They also challenged the privileged position that the ‘middle class urban intelligentsia’ occupied in art-making that allowed them to create a bourgeoiscentred art history. Art, argued the Radicals, belonged to and emerged from people, especially, the working classes. Their choice of materials veered away from bronze and other traditional media hitherto used for sculptures – KP Krishnakumar worked with ephemeral rough unusual material to create his pieces. In this lay the political gesture – a challenge to established norms of not just figuration but also material usage. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「K. P. Krishnakumar」の詳細全文を読む スポンサード リンク
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