We encourage platforms that support the development of social life creating an environment through which the participants may take autonomy for defining their own histories, and gaining awareness of their own social and political realities. When we plan to take our collection outside the country, we believe that we are partaking in a cultural development programme even if the practice is not institutionalized. This sequel of participations invigorates exchange of dialogues, different readings, artistic concepts, etc. Political and cultural associations of art are conditioned to change with time; the new associations often become a discovery for us. The narrative keep evolving into a globalised one, expanding perspectives and adding along more systems of reference. In the process a new place is built; a place celebrating all communities similar to a cosmopolitan metropolis. First World War Propaganda_7.75x 11.25 in When we talk about transcultural exchange, Rabindranath Tagore is possibly the first name that is likely to occur. He lived and worked in a country that was still under the British rule. The idea to bring the east and west together was a difficult in those days owing to several factors. One of them being the acceptance of the west without damaging the east as the west saw themselves as a superior race. Bridging the gap was often perceived as the east seeking validation from the morally superior race. Tagore wanted India to be healed of all its prejudices – class and caste – so that the history of India merged with the history of the world. Rabindranath Tagore_Untitled_Lithograph_4 x 4.75 inches “If India had been deprived of touch with the West, she would have lacked an element essential for her attainment of perfection. Europe now has her lamp ablaze. We must light our torches at its wick and make a fresh start on the highway of time. That our forefathers, three thousand years ago, had finished extracting all that was of value from the universe, is not a worthy thought. We are not so unfortunate, nor the universe, so poor.” Tagore visited London in 1912 carrying the translations of his poems. During the visit, he befriended W.B. Yeats – one of the greatest poets of the 20th century – who helped him redraft the translations, later published under the title “Gitanjali”. He went to Japan in 1916, where he met art historian and curator Okakura Tenshin who specialized in Asian civilizations. Tagore set out to raise funds for his school at Santiniketan by travelling to New York for a lecture. He was especially interested because he had a stop at Japan where he delivered his first lecture explaining the evils of European civilization and the modern ideals of the Japanese civilization. He believed that modernism is defined by the freedom of thought, and not by the privilege of “tutelage under European schoolmasters”. Tagore’s journey to United States marked his attempt to present India to the world, and to bring along the study of humanity in the fields of Bolpur. During the period of non-cooperation, his travels aroused great controversy, but Tagore retorted that nationalism should never converge toward xenophobia. Tagore’s idea of modernism and civilization also inspired Nehru’s philosophy of pan-Asianism, as well as India’s ‘non-aligned’ position in the Cold War. Cover Page_Naba Hullor (Reform Screams) Rising above humiliation and egoism Modern art was regarded as ‘degenerate’ by the National Socialist (Nazi) party. Expressionism was particularly under attack. In 1937, German museums underwent a purge of modern art by the government; roughly, 15,550 works were cleansed from the museums. Tagore had his first German solo show at Galerie Ferdinand Möller in 1930. Five of his paintings, which were donated to the National Gallery, fell under Entartete Kunst or ‘degenerate art’ and were removed from the collection. Later in 1981, a comprehensive solo show was arranged again at the National Gallery in Berlin. In 2018, Akar Prakar facilitated the loan of the artworks of Rabindranath Tagore and Gaganendranath Tagore from international collections, for “Hello World”, an exhibition arranged by Hamburger Bahnhof- Museum fur Gegenwart- Berlin. Apart from arranging these, we had loaned significant works by artists Meera Mukherjee, Somnath Hore, and Propaganda prints from the First World War. Propaganda prints are an interesting convention of documenting the sentiment that was played out to have an intended effect upon the mass. Narratives about violence were used to make the countries clamour for revenge against each other. Carefully designed posters carrying words and images acted as catalysts to evoke this sentiment. The Library of Congress Prints & Photographs Division has made available online approximately 1,900 posters created between 1914 and 1920. However, the prints that were shown at “Hello World: Revising a Collection” bear a tone of satire very inconsistent with the other propaganda posters. Written and Edited by Shreyashi Mandal, host blogger, Akar Prakar References Guha, Ramachandra. TRAVELLING WITH TAGORE. Penguin Classics , 2012. Introduction to Rabindranath Tagore, Nationalism Tate. “Degenerate Art – Art Term.” Tate, Tate, www.tate.org.uk/art/art-terms/d/degenerate-art. “How Was Propaganda Used in World War One? – BBC Bitesize.” BBC News, BBC, 23 Oct. 2018, www.bbc.com/bitesize/articles/zhw3jhv. “World War 1 : Battlefront & Home Front Experiences [UK, USA, Canada, Australia, NZ]: Posters: Recruitments & Propaganda.” Research Guides, libguides.rowan.edu/c.php?g=618985&p=4310042. Berlin, Staatliche Museen zu. “Hamburger Bahnhof – Museum Für Gegenwart – Berlin.” SMB Exhibition: The Creation of a Masterpiece: Rembrandt, Staatliche Museen Zu Berlin, www.smb.museum/en/museums-institutions/hamburger-bahnhof/exhibitions/detail/hello-world-revision-einer-sammlung.html.