Buenos Aires

If there is any other city that I “felt” closest to being in the Calcutta that I grew up – it would be Buenos Aires. A city that is ornate with past glory and grandeur but is a bit lost in today’s world. A city that symbolized modernity in its outlook, character and dereliction long before the rest of the world thought we were living in the modern age. I usually try reading about the place before I visit, usually some fiction. But this sudden trip did not give me much of a chance. I tried reading Borges once but it was a bit to digest his convoluted plots and storyline. So perhaps this time around, I will understand the literature better after visiting the place.

Buenos Aires is a walking city. The streets are full of action. It is filled with beautiful women and even men know how to dress well. Their is a certain classiness among people despite mass poverty and 40% inflation; where cash is still king, as credits cards are not accepted everywhere and ATMs are often drained out. There is a vibrant cafe culture, book stores in almost every block (and you can find a Sartre, Camus, Marx, Kant in a newspaper kiosk) and although I don’t understand Spanish, the limited exchanges I had with strangers were warm, welcoming, and refreshing. While walking in one of the side streets – I curiously asked a group of men what they were drinking.  It was Mate.  They poured me and said, “try it.” It was awkward to drink from the same cup (Mate), but they explained thats how it is.  You pour water into the leaves and then have to drink the entire pour, and then you pass it on to someone, who then gets a fresh pour. It is communal and social. For a moment I got a Zen-like shiver of human connectedness with a group of policemen (yes that group were plain dress off-duty policemen, which I only later found out). But you never know who you end up with, is what brings me out wandering in streets and by-lanes. Like my visits to Calcutta that ground me, people in Buenos Aires come across as enlightened, worldly and intellectual without a long tail of degrees or a wallet full of money. These values go beyond monetary pretension and indeed, there were times and places that exemplify that.

There is a joke about Argentines – more specifically, the Portenos, literally meaning the “Port People”, but a term used for the people of Buenos Aires by others. That they are originally Italians, who speak Spanish, but dress like the English and wish they were French. I think there might be some truth to that. I was told that every visitor needs to do three things – eat steak, dance Tango, and buy leather. I was able to do all three – thanks to some good suggestions offered by my local contact – Chim. Chim who is a Canadian and an alum of Drama Centre London, which has produced people like Colin Firth and many contemporary stalwarts. He left doing Shakespeare and now is a artisan shoemaker in Buenos Aires. He personally took me to the Recoleta cemetery, which I went with some reluctance. This place has a stature similar to the cemeteries in Paris. It was a fascinating experience as he explained the mix of faiths, especially the Masons, Judaism and Christianity as well as paganism. We had a long discussion on Eva Peron, the rise of today’s populism and even the current Pope. I left with more questions than answers.

It was an eyeopener to visit Pope Francis’ original church. Speaking to some of those who know him well, interestingly enough, I got an explanation of his openness, that I had heard but never knew why. “The credit goes to the previous arch Bishop, who mentored him as a Christ purist,” they said. The basic doctrine of love thy neighbor, tolerance and forgiveness. They showed me a set of pictures and newspapers cuttings of the Jewish center bombings in the 90s and the role the church played in solidarity with the Jews that would otherwise be unthinkable for the Catholics. There is also a painting of Madonna – where Mary is depicted as an ordinary “woman”, which is also unusual – as historic Catholic paintings mostly depicted women either as virgins or prostitutes. But hardly as ordinary women with needs, desires, and aspirations, interacting with the world.

I met Jerry and Lucia, a very nice couple; Jerry is Irish and Lucia is local, who are Tango teachers in the San Telmo area. They took me to a Milonga. It was a trip down the memory lane – with a room full of locals dancing and having a good time. The demographic was similar to going to a rock concert these days, heavily skewed to 55 and above; but a stolid reminder of a time when men behaved like gentlemen. In fact, there was this ~80 year old Toto, a legendary Tango dancer of the 70s, who still dances in an almost defunct style, which was designed to protect the woman from getting hurt from the accidental kicks from others in the dance floor. Communication between the man and the woman happens through the eyes. You glance at the woman and if she gives you a friendly glance back; you go and have a dance with her; if not, you “Tango on”. As they say, there are no mistakes in Tango and poetry. You just flow.

Jerry suggested that I should go to a particular Parilla (Argentine steakhouse), so I went. It was a no-frills place, except that in the lore you hear the long list of celebrities that they have served – from the Obamas to the Hollywood stars. Waiters are elderly and old-school and they act as advisers as much as servers. Customer is not the king here. There was an young American couple who were given a paternal reprimand for ordering too much. The waiter cut their order down by saying, “you can’t eat that much…just because you can (order) does not mean you should”

Cities like Buenos Aires make me feel alive. Make me a part of something larger. At will I can become a participant or just a bystander, like my last evening, after buying a pair of shoes –  I spent in the Davidoff lounge – sipping shots of espresso and watching people through the window. I felt like Baudelaire’sFlaneur“. And just as I came to appreciate Baudelaire through Buddhadeb Bosu, I felt closeness to Buenos Aires through my primal attachment of Calcutta.

Berlin – The Wild Side

The video of two members of the Berlinkidz gang slinging from a rope tied to the roof of a high rise building in Berlin has gone viral since it came out. In the twilight, when the lights of the Berlin sprawl create a mystical haze – these guys take just a few minutes to scribble a few characters that resemble an obscure South American ancient script.  We can see them standing up on the roof of a speeding U-Bahn – with arms stretched, crying the sound of victory, after spraying their mark on the trains.  Vandalism or art? That is the question.  Beating the sight of building owners, tenants, and the law enforcement, these kids would go to the extreme of danger to leave their “mark”.  Ego, adrenaline and the sheer excitement of the wild are the main factors driving them. This is a glimpse of the wild side of Berlin – the world that gets exposed to the mainstream through tagging, graffiti, and street art, and these days social media and youtube videos. For many this is considered as “breaking the law”, and a mere destruction of public space. But street artists would argue – that – so are the advertisements and the thousands of billboards across the city landscape. What is visual pollution and what is not – is a topic for another day.  But this side of Berlin has much to offer – raw and uncut. A pure expression of the human spirit.

Admittedly, this wild underground life of Berlin has toned down quite a bit in the last couple of years after a run of more than 20 years, since the Wall came down. So when the wall came down in 1990s, a large section of the central city area called Mitte opened up. During the Iron Curtain era, this was largely abandoned and fell in the no-man’s land within the eastern section. Being so close to the border with West Berlin – no one really developed it. So it was not surprising to find garbage and rubbish from WWII still remaining there. Broken jeeps, aircrafts, shells – not to mention the ruins from the war that were left intact. (Check out this book) . So people started making stuff out of it. Given that there was not much out there – the people who came to this area were mostly freaks and misfits. There was already the Kreuzberg area in the West that was thronged by those who wanted a safe haven to dodge the German military service (yes Berliners had an exception). A combination of all these factors gave rise to a subculture that brought out the “other” side. Cheap living supported by major gentrification push from the government, brought in people from everywhere – mostly artists who took to the streets as their theater. Today, many of them have gone to major commercial success. The Banksy effect is pervasive and Berlin has its fair share of commercially successful artists. Many street “purists” however, do not like them; and are not pleased with these commercial developments and would prefer to keep doing streets from the underground, away from material mainstream success, in stealth and incognito. Such folks breed anarchy at heart. And I admire them.

Now personally speaking, ensconced in the mainstream, this subculture was outside my radar until a few years back when a friend of mine in New York introduced me to Parkour and street art in the Bronx and Yorktown area. I will get into the connection between the two later but like second hand cigarette smoke I was still a bit removed from what really went on. Walking around Berlin with a former member of the 1Up gang was an eyeopener. My first lesson was to understand the distinction between tagging, graffiti and street art. Graffiti is an outline with fillings of color – almost always done to make a personal statement. It is meant for other gangs or groups – usually a statement of ego and vanity. As simple as – “mine is bigger than yours”. Tagging is a basic form of graffiti – mainly to demarcate territory. There is a hierarchy within the gangs that ought to be respected. 1Up was one of these gangs that has an elevated stature in Berlin that others rarely crossed. Tagging and graffiti also serve to contextualize the place. There are folks who keep tagging over and over again. Someone cleans it up just to get tagged again. Tags are also a mark of protest – one such was all over Mitte to make a statement against the commercialization of the area. Mitte today is so trendy and expensive that it is driving the poor artists away.  It has become a hip neighborhood now with art galleries and trendy coffee shops.

Street art, however has a very different purpose. It is mostly for the viewers consumption. I was told that the newer breed of artists that are coming in are treating the street as just a window into their virtual world of social media. So they use the street to just get noticed and then conversation on art and commercial terms continue via social media. This is driving some of the old school graffiti/sprayers to other locales as a path to commercial success. I am told opportunities are opening up in other places in Eastern Europe and elsewhere. I did see that in Budapest last year and in Chile and Buenos Aires earlier this year.

I walked around marveling at the details and learning the stories behind them.  Stories on the refugees migration, their ironical detention in the Tempelhof airport (which was used for the Berlin airlift), deceit, human rights, heartbreaks…they are all there. I was struck with the variety of materials that are used. The staple is the paint can. Usually a beginner starts with chrome and black paint learning to do outlines. They have to be clean, proportionate and obviously, have to be done quickly. It takes several months of watching, practicing outlines, and forms before they can give a test and join the group as an artist. Once they join, then go up the hierarchy. There are rules, and gangs have their own set of highly rigorous governance mechanisms. A group like 1Up! has about 100 members – with a large percentage of girls. (Approach them at your own peril; gangs are very protective of their girls, and there is no tolerance for sexism). Many artists use stencils. Multi-layered stencils are used directly when the artists want to keep the artwork for long. Others can do more complex work on stencils in the studio and paste the paper onto the wall. Of course, these wither, crumble and fade away sooner. The only thing apart from the materials that ensure longevity of the art work is the respect for the artist itself. The notion of transience and impermanence is central to the artist’s psyche. Whats pretty today will not be there tomorrow. Either will get overwritten or just gone and forgotten.

The most fascinating material I saw was the use of the fire extinguisher. It came to Berlin from the streets of Paris. Fire extinguishers are easily available – one just need to break and grab it from a public place. Fill it half with paint and the other with some medium – then pressurize it with compressed air at a gas station – and you are good to go. It holds a lot of paint – so one does not need to carry a ton of paint cans. There is a strict protocol not to leave any material behind at the site so with the extinguisher it helps keeping your paint gear light. It takes a lot of practice to master the use with the nozzle though, but it is very effective. Without mastery bad things can happen. Notice the scribble near the famous astronaut – it is one such disaster. Although the guy who blew it was quite senior, he was not experienced in the nozzle control. Following the rules of the gang – he was apparently demoted and had to suffer a reprimand course of training before he was allowed back.

The recent trend is to combine parkour and graffiti art. Sadly, but not surprisingly, it has resulted in many casualties and fatalities especially when trying to do the epitome of all public places – the trains. It is the ultimate thrill of action art. I always associated action art with someone like Jackson Pollock  but this is of course of a different league. No absinthe or LSD involved. Quite the contrary – the Berlinkidz don’t touch alcohol, dont smoke, or do drugs.  They are on a strict diet and exercise. Despite their dedication, the Berlinkidz are believed that they would either get hurt or end up in prison. Pushing the human boundaries to the limits of danger – both physical danger and danger from the authorities to make that personal statement is of course not everyone’s thing. One artist told me, “the street is a very humbling place. You need to learn the hard way and then get erased soon. We do not come from art schools, but we learn and express through this rough cruel way.” I found this to be quite a paradox. But then as with many things in life – I am too small to pass a judgment. I can see both sides to this quite vividly. It can be pursuit of an ego trip in a humbling way. The truth to me is to be able carry forward and bear these contradictions – co-existing with each other.

I learn a great deal from such excursions. Not the least of which is that beyond the apparent two dimensional view of what I see there is a third or even more dimensions that is not visible but it is there. At a minimum there is always a “story” behind these art pieces, which is not available to everyone. I am grateful that, even in a very limited way, I could get behind the visible and learn about some of these stories.

Note: Here is a collection of pictures – mostly taken with my iPhone and a few with my Leica M9.


New Years in Istanbul is an experience of a kind. One group of the population does not care about it – the other parties. My 10 days in Istanbul in late December/January 2012-13 was a fascinating experience – I have heard about the inherent confluence of cultures, times, and geography – all draped in layers of history. Yes these are the cliches that we all hear – but to experience it is another thing. And then to allow it to soak and sink in completely is of overwhelming proportions. It is a different world. In the last several weeks the places I so languidly strolled around – sipping on Ayran and Doner Kebabs have been razed with disturbance. Politics put aside – this is unfortunate. I hope immensely – things will become normal soon.

Reminiscing New York City

It has been almost 8 months since I moved back to DC. I spent quite some time last year shooting in New York during my brief stay from April to December. Here is a sample of that body of work…

Fire in Greenwich Village

In New York, a surprise is often awaiting just around the corner. Walking up Broadway in Greenwich village from Houston St on my way to Union Square, I notice a speck of dark clouds over the Grace church. It can’t be rain clouds, I thought, and soon the noise of fire trucks made things clear. I rushed to the place of action where fire broke out in a restaurant in the first floor when a boiler exhaust in the 5th floor exploded. According to a cook who witnessed the fire explained it to me. “I heard a boom and flames gushed into the kitchen.” NYPD was in action quickly. Over 2 hours of battle with smoke and fire ensued. The Chief giving directions. Water hoses, hydrants, axes, etc were all in use. More than 10 trucks were present in the scene. Neighbors were obviously anxious, while passers by were capturing the action in their iPhone.  No one was hurt or even close to any form of injury as far as I could tell. Overall a New York moment for me. Some drama, some action. Glad I was able to make some pictures.


When the city gets drenched in rains as has been most of the last few days, it looks different… people behave differently.  Seems like traveling to a different place without going anywhere..



Update: Moved to NYC

In my journey of life, I have now moved to my next stop – New York City. Time will only tell how long I will be here. New York is one of the best places with photo opportunities, if not the best, so I am very delighted indeed. It is a strange dichotomy, however. Opportunities and scarcity can both be advantages when it comes to art and creativity depending on how one uses it. Some say actual creativity comes from constraints forcing one to reach out beyond the norms of regular thinking. I continue my quest to document my life around me …  what interests me and then express in my the way I see it. In short, discover through the camera who I am and share it along. I would rather have all these opportunities to try out different subject, different elements, style, talk to different people, meet different photographers, explore other people’s work in books and museums, and so on and so forth.


Brighton Dam, MD

I have been exploring the idea does the camera has to see what the eye saw. Lately, I have spoken to quite a few accomplished photographers on this topic. I have also tried to read up few articles and essays that tangentially touch upon this subject. And the overwhelming verdict has been – it is not necessarily true. Even in the arena of news reporting which has to bring reality to the viewer, the photographer has made a conscious decision to exclude certiain things and included others. As the cliche goes – art says not only about what it includes but also what it excludes. In the area of nature photography, however, the latitude by definition is quite broad.

So, last Saturday I was out with this mindset. It was a good hour drive to the a Azalea garden and Brighton dam in Maryland. I was driving there with an intention of breaking out of what I usually do. And these photos reflect what I tried. Albeit marginally.

I saw flowers and apart from taking the iconic shots, I moved out. It was strong light of the afternoon. I had the option of waiting till the light became a bit warmer. But I shot directly into the sunlight instead, playing with the colors. I shot placing my eye from the branch looking out long the small branches. I saw the sky like a bug through the flower trying to peak into the clouds. Later, as the wind started blowing, I wanted to flutter with the leaves. I moved like a flying leaf and wondered how the flowers and greens looked as it circled in the air, and the result was nice colors like an impressionist painting.

There are wonders that can be done with the camera. And not necessarily all that lit was seeing and captured was what I could see, however, it was the world I was in and in some ways I could see a bit in my imagination. To the extent I tried to create an artificial mist in the dam picture by exposing parts of the lens longer than the rest. Previsualization as they say. Worked a bit. More to explore.