Is it a room or a chamber? Is it contained or does it reach out to infinity? Is it suspended in time or is it aging as we speak? Who are these dead men and women whose frames hang within the image? Do they converse with each other when the light has gone; when the living are asleep, or when they’ve retired to elsewhere worlds across the seas, abandoning their precious interiors to be playthings of the elements?

Sebastian Cortés’ photographs are saturated with such ever-questioning detail. Clues abound. But what is the great mystery they serve to address? Within this astute body of work, objects are testaments and the sitters, when framed, are firmly in attendance. Both categories of inhabitants allude to that which is present and that which has past, transforming Cortés’ photographs into documents that will determine the future of the multiple mis-en-scenes.

Cortés reinvents remains. His contemporary lens preys on remaindered detail, fragments, traces of what were once prized acquisitions, aesthetic luxuries. In doing so, he references their metonymic relation to Time Past. Their resilience against erosion, decay, and their survival in the face of neglect and abandonment constitutes the poetry of the present. Cortés alludes to the momentary present; that which was in existence, however prolonged or accidental that existence may have been.

About SEBASTIAN CORTÉS

Sebastian Cortés, born in New York. took up photography while at New York University film school where he studied and collaborated with many of the best names in the industry, shooting several short films. In 1985 moved to Milan, Italy and started shooting fashion, travel and lifestyle photography assignments for many international magazines and commercial clients, including: American Express, Condè Nast, Ermenegildo Zegna, Publicis Group and many others.

From the beginning, Sebastian’s career included a commitment to fine art photography, developing a very personal analysis of the use of the camera as an instrument for recording – the layering of time and the sense of place – influenced by the American school: Walker Evans, Stephen Shore, William Eggleston and contemporaries like Robert Polidori and Alec Soth. His fascination with history and passion for heritage was set in motion at a young age, during his many stays in Venice, Italy at the palazzo of his grandfather.

In 1996 Sebastian produced, “Luoghi Poetici”, published by Loggia de Lanzi, intimate, atmospheric portraits of the major Italian poets in their homes, the key to discovering each poet is the place in both a literary and metaphorical sense – that space in which the poet recognises himself. The book and the exhibition drew great critical acclaim and travelled to major Italian cities.

In 2004 Sebastian moved together with his family to India, where his award-winning fine art, travel, and lifestyle photography is greatly admired. Garnering recognition from noted artists, intellectuals and press, Cortés developed several book projects, “Pondicherry”, published by Roli Books, “Sidhpur”, published by Tasveer, further extending his very personal discourse with photography, initiating a productive period of fieldwork within a new cultural context. His most recent project “Symmetria”, developed over a four-year period in collaboration with UNESCO World Heritage, in the Chettiar region of Tamil Nadu, India, explores the fine line between the utopian and the resoundingly real, as well as between architectural and fine-art photography. Cortés lectures, offers workshops and mentoring in photo biennales around the world. His images are exhibited and reviewed widely in Europe and in India. Sebastian currently lives in Venice, Italy and India.

SELECTED SOLO EXHIBITIONS AND AWARDS

2022

Sidhpur, Time Present Time Past, Indian Art Fair, New Delhi

Pondicherry, Palazzo Polignac Art Gallery, Venice

2016

Sidhpur, Time Present Time Past, Folly Arts Centre at Amethyst, Chennai

Sidhpur, Time Present Time Past, London Photo Festival

2015

Sidhpur: Time Present Time Past, Harrington Street Arts Centre, Kolkata

Sidhpur: Time Present Time Past, Exhibit 320, New Delhi

Sidhpur: Time Present Time Past, Dr. Bhau Daji Lad Mumbai City Museum, Mumbai

Sidhpur: Time Present Time Past, Goa Photo Biennale, Gitanjali Gallery, Goa

2014

Sidhpur: Time Present Time Past, Tasveer Gallery, Bangalore

Sidhpur: Time Present Time Past, National Institute of Design, Ahmedabad

2014

Pondicherry, Citadines Art Gallery, Auroville

Pondicherry, Photo Shanghai, Shanghai

2013

Pondicherry Tasveer, Amethyst Gallery, Chennai

2012

Pondicherry, Tasveer Gallery, Bangalore

Pondicherry, Tasveer, Alliance Francais, Delhi

Pondicherry, Aurodhan Gallery, Pondicherry

2007

Infinite, Kala Kendra Gallery, Auroville

1996

Luoghi Poetici, Circolo della Stampa, Milano

Luoghi Poetici, Protomoteca, Roma

Luoghi Poetici, Galassia Gutemberg, Napoli

Pondicherry, (architecture), IPA Photography Awards

Sidphur, (culture), IPA Photography Awards

Notturno Veneziano, (architecture) IPA Photography Awards

Javier Marias, (editorial portrait) IPA Photography Awards

SEBASTIAN CORTÉS in conversation with ROSALYN D’MELLO

Rosalyn: Inspirations, influences, and reasons for making these series?

Sebastian: I have always been attracted to cities or towns that have, for some historic, social, or economic reason, fallen off the map. Sidphur and Chettinad exude the same kind of atmosphere that you find in abandoned mining towns in the American west, or cities in southern Italy that once had great commercial importance, then history moved on and left them drifting in the indifference of time. But these two locations have an added element that fascinates me even more and that is the layering of visual, architectural, and symbolic elements that seem to linger in the homes like so many ghosts. The psychological and metaphorical importance of rooms and what they silently describe, holds my attention and I want to draw the viewer into the pathos of discovery. The vibration of the empty rooms and all the surface information speaks to us about a people and their need to express themselves, the exteriorization of the soul life or personal values- the emblematic image of an age, a brief but rich moment of creativity and domesticated poetic fantasy. Sidphur and Chettinad for me stand as a metaphor for many of the questions I ask myself about the process of time and the effects of modernity.

Having been influenced consciously and subconsciously by an Italian mother, who can trace her family history to the early stones of Venice and a father whose last name alludes to a time of great upheaval and historic change, my formal and visual education interwoven a curious pattern, which also rests on some very persistent American experiences and ways of being. It’s inevitable that vagabonds and culturally variegated individuals like me become more sensitive to that notion of impermanence, which I seek to arrest in my photographs. My process of observation, when freed of the ridged and shallow obligations of editorial or commercial discipline, tends towards a “vision of loss”. At the very outset of photography, William H. Fox Talbot noted the camera’s special aptitude for recording “the injuries of time”.

My continuous point of reference and influencing force is the American school of photography, as expressed by Walker Evans, Stephan Shore, William Egglestone and my contemporaries Robert Polidori and Alec Soth- I share and admire their disciplined approach to recording reality. I also like to include a slightly more European and softer chromatic gaze, which finds its best expression in the Italian photographer Luigi Ghirri.

Rosalyn : How ds these series differ from your previous projects in India?

Sebastian: The process I follow is always the same in my projects and I try to remain similarly disciplined. At the same time, what I have learned about India from each project and the deeper fascination, understanding and feeling of kinship, which has developed, helps me to be more susceptible to nuances and subtle details. In the end, every project interjects a different matrix of elements, which seem to arise as I go through the process of recording and searching. Every project is different in content but similar in the questions it posses.

Rosalyn: In previous projects you have been influenced by literature, what were some of the non-photographic influences here?

Sebastian: I think that the influences of literature are always playing a role in any of my projects. Writers as different as Max Sebald, Orhan Pamuk, William Dalrymple, Susan Sontag, T.S Eliot and Pankaj Mishra, to mention just a few, are constantly setting a tone to my process of observation. I spend allot of time reading and finding men and women of my generation and from the past, who share my state of mind and help me to objectively entertain a vision of the world. But I’m also easily moved by simple curiosity and the fatalistic sense of opportunity, which is often just a working through of my personal process and path.

Rosalyn: You seem intrigued by aspects of life that are often overlooked, the mundane, ordinary …domestic routines – why are these recurring themes in your work and please explain what you attempt to convey through your imagery?

Sebastian: The obvious, the domestic, the routine are elements that I like to explore in the context of exceptional conditions. More clearly, the psychological and metaphorical importance of rooms and what they silently describe, holds my attention and I want to draw the viewer in to the pathos of discovery. The vibration of the empty rooms and all the surface information speaks to us about a people and their need to express themselves, the exteriorization of the soul life or personal values- the emblematic image of an age, a brief but rich moment of creativity- of domesticated poetic fantasy. A house that has been lived is not an inert box, it’s filled with a humanness that I want to capture and evoke. Furthermore, I feel that the house represents a group of organic habits, which serve as metaphors of imagination, waiting to be observed.

Rosalyn: What do these images reveal about you as a photographer if anything?

Sebastian: My process of observation, when freed of the ridged and shallow obligations of editorial or commercial discipline, tends towards a “vision of loss”. At the very outset of photography, William H. Fox Talbot noted the camera’s special aptitude for recording “the injuries of time”. I feel that my images portray my constant need to balance between past and present; to persistently look in both directions as I’m slightly worried about the future and feel more at ease in certain atmospheres and surroundings of the past, that I try to evoke, record, and examine.

Rosalyn: Some of the interesting moments—including challenges, if any—that you would like to share?

Sebastian: My process with my project-fine-art photography always implies a challenge of access and verification. Sidphur, Pondicherry and Chettinad involved a pilgrimage from house to house which was very much akin to the path followed by an investigator who looks for clues, but I was not wanting to verify anything. My search is not to uncover but to record, my clues lay hidden in the two-dimensional result of my efforts, which become objects of a bigger puzzle, that are more universal, more transcendent and speak to each viewer in a different way, as photographs must.

Rosalyn: You describe your photographic process as ‘recording not judging’, where you follow principles of Pure or Straight photography – depicting a scene as realistically and objectively as possible with a conscious attempt to distance yourself from your subject, yet there is a sense that your perception has translated into your work and the images themselves seem quite intimate, did you feel that your presence in this society was an intrusion?

Sebastian: I attempt to remain as disciplined as possible to avoid any nostalgic indulgence or an excessively dry interpretation, but the possibility always remains that my subconscious attachment to certain iconic images surfaces. I had a very formal, Euro[1]pean education and spent my early years roaming around churches and frescoed villas in northern Italy. The early renaissance painter Vittore Carpaccio, his painting “St. Augustine in His Study” is constantly alive in my mind’s eye and particularly influences me; the balance achieved in this painting is a solid reference point for me. I never feel that I’m intruding once a member of that same place has let me into a community or a house.

Rosalyn: Western artists making work about the east and India are often accused of being Orientalist, making things exotic / appropriating the culture, how do you respond to this view?

Sebastian: The concept of Orientalism has many different interpretations and can easily and constantly is associated with most attempts by westerners to observe and artistically depict the eastern part of the world. But I personally feel that Orientalism is a dated label, which was suited for the colonial and post-colonial period when travel and communication was at a slower pace and cultures where more easily identified in their static qualities and exploited. Edward Said’s political, social, and cultural depiction of Orientalism certainly still holds a specific explanation for many of today’s social upheavals and miss-directed attempts of western intervention in eastern affairs. But from a purely artistic point of view, Orientalism in the work that I do would be a miss-applied label. I think contemporary photography has a universal language, which goes beyond such limited cultural stigmas. One thing is certain, but this pertains to all cultures, a foreign eye often sees and interprets the local reality with a totally different vision, which may at times be less encumbered.

Rosalyn: How does India differ from other countries that you have lived / worked in – has the environment influenced your work/ subject / process and how?

Sebastian: India offers an enormous variety of visual and cultural realities. Especially in this transition phase, which sees the forces of modernity encumber on older traditions. India is a vivid tableau of contrasts. I find myself currently in a totally different phase in my photographic career then when I was working in Europe. India has helped me to develop a renewed vision and deeper commitment to my artistic and cultural concerns. My documenting process has also changed; I have grown more attentive to nuances. India has forced me to reflect attentively on each project and the subtle influences that motivate me to undertake a project.

Rosalyn: What should viewers look for when they see these images?

Sebastian: I never really ask anything of the viewer, he or she can only see and understand what they are able and prepared to see. A photograph, like any other object or artistic expression, requires that the viewer be nurtured by their own cultural and emotional background- all explanations or captions are useless. It’s my hope that the viewer connects emotionally and on an unconscious level, which suggests that I would like my images to raise questions.

Rosalyn: What is the relationship between your personal and commercial work, do you see them as separate or are there similarities?

Sebastian: Obviously my mastery of the trade is one and the same, but my process and vision is vastly different when I engage in a personal project. Commercial photography is, by definition, an act guided by some commercial rules and needs, which you must accept and agree to. Personal projects are the direct opposite, your end point is different, the process is different, and the result is different.

Rosalyn: Tell us about your plans for future projects. What are you currently working on?

Sebastian: I have two different projects, which will both challenge me to expand my process. They are both in the conceptual stage and will involve different styles of photography. I want to do an “on the road” project, which will analyze the visual grid of life around a highway in India. My second project will involve the similar process used in the projects already presented.

Chandigarh– Panchkula, Mohali and Zirakpur adjacent to Chandigarh were always considered affordable and convenient options for home buyers. Not only were the prices relatively low in these areas, but the modern facilities here and the proximity to Chandigarh made them special. But now the situation has changed. The tremendous increase in property prices has put these places out of the reach of many common buyers.

Panchkula: Prices rise in premium areas

Property prices in prime sectors of Panchkula have reached ₹ 12-14 crore per kanal. These rates are now at par with the popular sectors of Chandigarh, making it difficult for middle-class families to buy a house here.

Mohali: Investors’ choice, challenge for common buyers

Mohali has become a real estate hotspot due to its rapidly developing infrastructure and location on Airport Road. Recently, 1 acre of land was sold here for ₹ 100 crore, which reflects the rising prices here. However, these prices have made it challenging for common buyers.

Zirakpur: Rising prices with development

Zirakpur, which was popular due to its better connectivity and amenities, has now seen a rapid increase in property prices here too. This area is no longer a cheap option as before.

What are the Affordable Options?

There is still hope for investment in some areas around Chandigarh. These areas are not only affordable but can also give good returns in the future due to better connectivity and development plans. There are many emerging areas near Chandigarh, which are affordable as well as convenient. These can include areas around Shishu Niketan School, places near Sector 43 Bus Stand, Mohali Bus Stand and areas around Mohali Government Civil Hospital. Apart from this, areas near the new cricket stadium and around Sector-39 Grain Market can also be found better options for buying property. These places are not only budget-friendly, but there is also a lot of potential for future development here.

Along with this, there are many projects of Royale Estate Group near Chandigarh, which are budget-friendly and convenient. These include: Royale Estate Zirakpur Oxford Street (Zirakpur), Mohali Industrial Economic Zone (Banur), The Royale Sector 122 (Mohali) and Chandigarh Royale City (Near Aerocity, Mohali).

Piyush Kansal, Executive Director of Royal Estate Group, says, “We have always been committed to providing better options to buyers according to their budget. Even today our projects offer affordable options for those who want to fulfil their dream of owning a house. Whether it is a middle-class family or a young first-time home buyer, we understand their needs and provide property accordingly. This time is very favorable for investment, as these areas are developing rapidly. New roads, better connectivity and modern infrastructure projects will further increase the property value here in the coming times. In such a situation, those who invest now can expect good returns in the future.”

Despite the rising property prices in Panchkula, Mohali, and Zirakpur, you can fulfill your dream of buying a house within your budget by investing in the projects of Royale Estate Group. These places are not only affordable but also have the possibility of better returns in the future.

Bhubaneshwar, 06 January 2025: In line with its commitment to revolutionizing farm mechanization for small and marginal farmers, VST Tillers Tractors Ltd, one of India’s leading farm equipment manufacturers, showcased its range of innovative products at Krushi Odisha 2025. One of the key attractions at the mela is the VST 165 DI Electric Start Power Tiller.

The penetration of farm machinery to small and marginal farmers is comparatively low in India because mechanization depends a lot on the land size, topography, and crop requirements. With the size of farms shrinking, and landholdings getting divided, small and marginal farmers are looking for mechanization in their farms, that are less than 1 hectare in size. VST Tillers Tractors Ltd, over the years, has introduced a range of products for the small and marginal farming community and Power Tiller is the best solution, enabling such farmers to get maximum productivity from the field by its versatile operation and lowest cost of ownership.

VST Tillers Tractors Ltd. which has over 60% market share in the power tiller industry, is committed to providing world-class products at an affordable price to Indian farmers. The goal is to enable farmers to mechanize at an affordable cost, at a time when farming costs are increasing, and labour is scarce. VST 165DI ES offers effortless electric start, adjustable tilling depth, compact design, low maintenance, and environment-friendly operation, making it an ideal companion for Indian farmers.

VST 165DI ES comes with exciting features including Electric Start for effortless starting, Digital Hour Meter to help the working hours and timely service and maintenance, Sit & Ride Comfort for the farmers to work uninterruptedly on the field for longer periods, Wider Rotary for better productivity in less time, Aerodynamic Design that gives an aesthetic look and helps in improving overall performance, Powerful High-performance 857cc engine that delivers exceptional power and efficiency and LED Head Lamp that saves energy and give better lighting while working on the field in late hours.

VST 165 DI ES 16 HP Electric Start Power Tiller is good for professional landscaping and passionate farming, this Tiller is the ultimate tool to achieve outstanding results with ease.

VST displayed all its products underthe  SFM category ranging from 2 HP to 16 HP while a wide range of tractors is also available from 17 HP to 50 HP. The products were appreciated by the farming community and willing to explore profitable ventures in this Farm implements segment. VST’s range of products is widely used for both dry & wet land operations, Inter-cultivation, Earthing-up, Land preparation, etc. Although smaller in size, these products are available with multiple attachments to handle the growing demands of mechanization in Sugarcane, Turmeric, Vegetable Crops, Horticulture Crops, and Floriculture & Plantation Crops at very affordable costs.

Krushi Odisha is a three-day event being held at the Biju Patnaik Playground in Baramunda, Bhubaneswar from 3rd January to 5th January 2025. The theme of Krushi Odisha 2025 is, “A Step Towards Sustainable Food System” with a focus on Climate Smart Agriculture, Organic Farming, and Water Governance. This three-day program, organized by the Government of Odisha, will showcase and leverage the great potential of the State and enormous investment opportunities in Agriculture, Horticulture, Food Processing, Fisheries & Animal Husbandry Sectors. This year’s exhibition is expecting a footfall of > 30,000 farmers & farm women, SHGs, FPOs, NGOs, Pani Panchayat members, Agri-entrepreneurs, Exporters, students, research scholars, and manufacturers from different corners of the State.

The Fastest Fashion Fix Ever: Go Colors Partners with Zepto for 10-Minute Deliveries

Get ready to level up your everyday glam in just 10 minutes!

Go Colors, the premium brand for bottom wear in India, has joined forces with Zepto, the 10-minute delivery powerhouse, to revolutionize the way customers shop for fashion. Together, they’re delivering quality bottom wear to your doorstep in just 10 minutes, offering a shopping experience that’s quicker and more seamless.

Renowned for providing chic bottomwear in an array of sizes and hues across multiple categories, Go Colors boasts of a wide offline footprint with more than 750 stores across 170+ cities in India. Having expanded extensively in the offline space, Go Colors is now vying for the fast-growing quick commerce sector through its partnership with Zepto and is currently available across Bengaluru, Chennai, Delhi NCR, Hyderabad, and Mumbai. The brand has decided to deliver a collection of leggings and churidars quickly, to perfectly complement your everyday attire.

“At Go Colors, we strive to bring unmatched convenience to our customers. By merging Go Colors’ trendsetting bottomwear with Zepto’s lightning-fast delivery, we aim to fix the hassle of last-minute wardrobe choices,” said Mr Gautam Saraogi, Founder and CEO of Go Colors. He further added, “We are excited to team up with Zepto to bring Go Colors’ fashion forward and comfortable bottomwear closer to millions of shoppers across India. This will facilitate us to make fashion more accessible than ever before.” stated Mr. Saraogi.

“At Zepto, we are honoured to team up with India’s top bottom-wear brand, Go Colors. This strategic partnership strives to bridge a significant selection gap in the women’s bottomwear category on quick commerce, delivering shoppers with quick access to a wide range of styles. Aligning with Go Colors will contribute to Zepto’s evolution in the women’s fashion sector,” stated Chandan Mendiratta, Chief Brand Officer, Zepto.