mardi 13 février 2024

Mumbai Collector Sangita Jindal on Her Sprawling New Contemporary Art Center in Ancient Hampi

Source ArtNet by Lee Carter
Sangita Jindal has been captivated by the ancient city of Hampi in South India since she first laid eyes upon the UNESCO World Heritage Site in the early 1980s. Hampi, explained the prominent art collector and philanthropist, was a “dynamic hub where art, architecture, and literature flourished from the 14th to 16th centuries.” As many as 1,000 temples, shrines, and other monuments were intricately carved out of local granite during Hampi’s heyday. Many of them still stand, making the site a major tourist destination and an auspicious location for Jindal’s long-planned, newly opened art center. Hampi Art Labs—with its organic, stone-like forms designed by architect Sameep Padora—promotes the creation of contemporary art through residencies and workshops that bridge past and present disciplines. It’s the latest initiative from JSW Foundation (which Jindal chairs), the philanthropic wing of the Mumbai-based conglomerate JSW Group (which her husband leads). Together, the couple is well-known for supporting arts and heritage projects in India.
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Inside India’s Booming Art Scene

Source Forbes by Grace Banks In the early days of January, India’s prime minister Narendra Modi spoke for the first time about the Indian contemporary arts scene on his youtube channel. Referencing the India Art, Architecture and Design Biennale held at the Red Fort, New Delhi, in December, which he attended, Modi called the event a “celebration of our country’s diverse heritage and vibrant culture” and spoke about his pleasure at being able to interact with art and artists. Later, he published photos of the event on his own website. For a ten year presidency that has offered little financial support to the arts, and in an election year, this broadcast and coverage felt to some like nothing more than a publicity campaign.
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dimanche 4 février 2024

Politics of purity: Konkan artist shatters sexist stigmas with cow dung, embroidery and more at India Art Fair

Source The Decan Herald by PTI
New Delhi: A yellow tarp in one corner of the India Art Fair presents a sight commonplace in rural India - cow dung cakes plastered to a wall to dry. Look closer, however, and you see the cow dung cakes are stylised in the shape of female genitalia. For Konkani artist Mayuri Chari, the rows of vaginas sculpted in cow dung are a statement against the hypocritical attitude towards menstruation. Through her art, she questions the tradition of banishing women from their homes during their period for purification of the home and a cow is worshipped while a human is rejected for being impure,” Chari told PTI.
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samedi 3 février 2024

The Young Artists To Watch Out For At The India Art Fair 2024

Source The Sunday Guardian by Noor Anand Chawla
The fifteenth edition of the annual India Art Fair (IAF) opened to much fanfare on February 1, 2024 at the NSIC Exhibition Grounds in New Delhi, and is on till Sunday February 4. The grand show features 109 exhibitors with an entire section dedicated to the category of design, in line with the fair’s commitment to celebrating the best of South Asian art and culture. On display are a plethora of works – masterpieces of Indian modernists as well as the works of emerging artists and contemporary masters of traditional arts. Artists from the South Asian diaspora are also part of the milieu. Through this immense display of talent, we kept our eye out for young and emerging artists who were pushing the boundaries with their work. Here is our pick of the best young artists to watch for at the India Art Fair 2024.
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jeudi 18 janvier 2024

Founders Prateek and Priyanka Raja reflect on their journey as Experimenter turns 10

Source The Telegraph by Farah Khatoon
Born out of sheer passion and steered with perseverance and panache, the contemporary art space and gallery stood as a mirror to the current times and emerged as a space for creative spirits who passed on their infectious energy and touched the souls of Calcutta and Calcuttans. "We feel both cities have deep and layered histories and are amalgamations of multi-cultural influences over time. As a result, they both have great institutions and communities that have so much to learn from each other. While the audiences in Calcutta are active and are unhesitating to ask difficult questions, the energy and inquisitiveness in the audiences of Mumbai are unmatched. The arts landscape has continued to evolve albeit at different paces in both Calcutta and Mumbai and new spaces and new models of showing work have emerged, collaborative initiatives have evolved and artist-run spaces have also grown tremendously".
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'Sheher, Prakriti, Devi' an exhibition that marks artist and photographer Gauri Gill's first extensive curation

Source ArtDaily
DUBAI.- Ishara Art Foundation is preseting Sheher, Prakriti, Devi, an exhibition that marks artist and photographer Gauri Gill’s first extensive curation. Ruminating on the interwoven relationship between dynamic cities, the natural environment and the inseparable sacred, the show presents twelve artists and collectives working across diverse contexts of urban, rural, domestic, communitarian, public and non-material spaces. In Gill’s words, “Apart from the sheer beauty and multiple truths expressed by the different artists - from the mundane to the transcendental, the gross to the subtle, and, the manmade to the sacred – through this palimpsestic and idiosyncratic exhibition, I wish to acknowledge those who have found ways to stubbornly persist in their practice, often sharing their work only within their families and local communities, completely outside the circuits and networks of professional artists, contemporary art discourse, galleries and markets… Through this gathering of insistent voices we hope to consider the dualistic worlds of the depleted and regenerative, manmade and natural, colonial and Indigenous, young and old, English and non-English, mundane and magical, absent and present.”
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mardi 16 janvier 2024

In Strong Economy, India Art Fair Boasts Biggest Edition Yet

Source Ocula by Sam Gaskin
India Art Fair will present 108 exhibitors and a new design section when it returns to the NSIC Exhibition Grounds in New Delhi from 1 to 4 February. 'We are proud to be able to host the wide spectrum of creativity in the region, from the most established artists and designers to the emerging stars of tomorrow,' said Jaya Asokan, Fair Director of India Art Fair. India's art market is tiny by global standards, with total sales valued at U.S. $144.3 million in 2023 compared to $30.2 billion in the world's largest market, the United States. But it is growing quickly, up from $106 million in 2020–21, according to the State of the Indian Art Market Report FY23 by Grant Thornton Bharat and Indian Art Investor. And art dealers in India have favourable economic winds at their back. The Reserve Bank of India is projecting real GDP growth of 7% for the country in 2023–24. That's leagues ahead of the 2024 outlook for China (4.6%), the United States (2.35%), and the United Kingdom (0.7%). 'Our programme of commissions and projects is our most ambitious yet and we are proud to have such an illustrious group of experts taking part in our talks programme and workshops,' Asokan said. 'This year, more than any other, we will see the real power and potential of South Asia at India Art Fair,' she added.
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mardi 21 novembre 2023

Galleries and Collectors Applaud Inaugural Art Mumbai

Source Ocula by Shreya Ajmani
Mumbai's ambitious new art fair is here. Art Mumbai featured 53 galleries from India and beyond at the Mahalaxmi Racecourse from 16 to 19 November. The excitement was palpable on opening day. Galleries across India were particularly thrilled to meet new clients in the country's financial capital. For those rooted in Mumbai, the sentiment was one of gratitude as they revelled in their local advantage. Many expressed their delight at sharing this experience with friends and family who would not typically travel for a fair, but could now experience one in their city for the first time in their collecting journeys. Art Mumbai separated modern and contemporary works of art in two distinct tents.
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Experimenter 2023: “The Contemporary Art World Cannot Work in Its Own Bubble”

Source ArtReview
We had just started our programming in 2009 and were encountering such incredible exhibitions taking place all over the world, but found no place to know more or to speak about these exhibitions and learn from the amazing minds who had given them shape, had thought intensely about the ideas that anchored these exhibitions and literally brought them to life. We were quick to also realise that in other geographies the role of non-commercial institutions was significant, we had no such institution in a country as large as India (we still do not have such an institution) and if we wanted to pursue our need to know, we had to build this dialogue from the ground up. And that is exactly what we did and continue to do 13 years on. It felt like a responsibility, and a way to give back to the community we represent.
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vendredi 17 novembre 2023

Art Mumbai Opens With a Strong Debut Amid an India Art Market Resurgence

Source Artnet News by Anindo Sen
Mumbai has had a lot to celebrate in recent days. The city had just woken up after a Diwali hangover triggered by an extended weekend of religious celebrations, mithai-fueled foodgasms, and lively parties, when the Indian national cricket team scored a pulsating win in the semifinals of the ICC World Cup on Wednesday. And just a few kilometers away, the inaugural edition of the contemporary art fair Art Mumbai hit a ball out of its own park with a successful opening day on Thursday, November 16 (the event runs through November 19). The fair’s success is another sign of the recent resurgence in the Indian art market. So, what is behind this buoyancy? First off, India’s economy has scaled up significantly in recent decades, with more than six percent growth expected in the coming year, according to the Federation of Indian Chambers of Commerce and Industry. This is largely driven by private industry, particularly manufacturing, as global supply chains attempt to lessen their dependence on China.
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samedi 4 novembre 2023

Said so much with understatement: Gieve Patel’s life in art and poetry

Source The New Indian Express
For a man whose disciplines were many – painting, poetry, plays, sculpting, medicine – Gieve Patel’s proficiency in each was enviable. Born in 1940, pursuing medicine for most of his adult life, turning to art in his twenties and acquiring cultish respect in whatever form he turned to, Patel died Friday. He left a legacy of depth in simplicity, in words, images, and mediums in between. For his close friend and artist Atul Dodiya, who first became acquainted with Patel after requesting him for a commentary on his first solo show in 1989, Patel’s feeling for his hometown of Mumbai will remain one of his hallmarks. “He painted the people, and didn’t just depict them. What he painted was felt from within, in a spiritual way – whether he was painting an empty railway platform, an early morning day, or a child looking into a well.”
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jeudi 12 octobre 2023

Best in show: India's Experimenter gallery wins Frieze in London's top stand award

Source The Art Newspaper by Kabir Jhala
The Frieze London Stand Prize for the best gallery presentation has this year been awarded to Experimenter, from India. The gallery, founded in 2009 by Priyanka and Prateek Raja, has two locations in Kolkata, and a further space in Mumbai, which opened last year. Experimenter’s winning stand, with its walls and carpet in hues of grey, is loosely themed around the concept of a grid, and brings together an intergenerational group of eight women artists on its roster. On a more abstract level, the grid also relates to how repetition and the act of small mark-making are present throughout the practices of Experimenter's artists, Priyanka Raja says. "Whether it's in the meditative dots of Radhika Khimji's paintings, or Bhasha Chakrabarti's reflection on the slow passing of time, there is a clear formal resonance between all the artists we represent." These lines of continuity also allow for a dialogue across centuries: a painting by Reba Hore, who was born in 1926 and died in 2008, focuses on erasure, and chimes with the overall practice of one of the gallery's youngest artists, Biraaj Dodiya, born in 1993, whose paintings are self-termed as "excavations".
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lundi 2 octobre 2023

Hermès’s artistic director Pierre-Alexis Dumas speaks to Vogue India on his love for India and the importance of inventiveness

Source Vogue India by Divya Bala
Prior to graduating from Brown University in art history, Pierre-Alexis began at Hermès as a teenager when the brand opened its first workshop outside of the store space in 1991. He counts his first memories as visiting his father and grandfather in the workshop after school, where he continued to work for seven years. “It was a very familiar environment, and making things with your hands, being proud of what you make, learning and transmitting [the craft], this was all my norm. My father used to say, ‘Craftsmen of the world unite.’ By that, he meant that we are all human beings, we are inventive and a creative species. We develop skills and tools and have done that for over 50,000 years,” Pierre-Alexis says. “Artificial intelligence is great, but let’s not forget we have 10 fingers and senses and an incredible apparatus [he gestures to the brain] to transform what Mother Nature gives us for the better, for the long term to make useful and beautiful objects. I really believe in that. Going to India is a confirmation of that.
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dimanche 17 septembre 2023

Solo Show of Mayur and Tushar Vayeda in Brussels

Source Modesti Perdriolle Gallery
Mayur and Tushar Vayeda are two brothers born in the Warli tribe, one in 1987 the other in 1992. Their grandfather founded the first school in their village of Ganjad (Maharashtra, India) and their mother is a teacher. Both have advanced education in Mumbai. After completing their studies, the two brothers have decided to leave the megacity to return to their homeland and participate in the vitalization of their own culture. Their paintings retain this fineness and sensitivity of the most beautiful Warli works. They renew the represented subjects by drawing on the popular stories told to them by their mother Grand mother and other elders from the villages.
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Amrita Sher-Gil sets record for highest price achieved by an Indian artist

Source The Indian Express by Vandana Kalra
Painted during an important period in her oeuvre, Amrita Sher-Gil’s 1937 canvas The Story Teller sold for a whopping Rs 61.8 crore ($7.44 million) on September 16, setting a world record for the highest price achieved by an Indian artist. The iconic work led Saffronart’s Evening Sale: Modern Art, which featured more than 70 artworks from prominent artists, including significant works by modern masters V S Gaitonde and S H Raza, and early works by Tyeb Mehta, M F Husain, F N Souza, and Akbar Padamsee.Before this sale, the most expensive Indian artwork sold at an auction was S H Raza’s Gestation, which had fetched ₹51.75 crore.
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samedi 9 septembre 2023

Framing the contemporary at Chemould

Source Mint Lounge by Avantika Bhuyan
Chemould, started in 1941 as a framing company, grew into a contemporary arts space in 1963 after Gandhy and his wife, Khorshed, opened it on the first floor of Jehangir Art Gallery. In 2007, it relocated to its current home on Prescott Road under the leadership of Kekoo and Khorshed’s daughter, Shireen. Three shows are being held to celebrate Chemould’s 60 years: CheMoulding: Framing Future Archives, Remembering and Continuum. In CheMoulding, Wadhwana has used the term “frame” as a metaphor to hark back to the origin of the gallery as well as to place it in the ever-evolving context of Indian contemporary art. She uses the archive as a starting point to look at both the past and the future of the arts space. CheMoulding will be held in two parts, from 16 September-28 October and 14 November-24 December, at Chemould Prescott Road. She makes it clear that this is not an archival show but an exhibition about the archive itself. For instance, over 30 contemporary artists, such as Jitish Kallat, Shilpa Gupta, Anju Dodiya, Varunika Saraf and Nilima Sheikh, have responded to curatorial prompts from the archive. There is also archival memorialisation of veteran artists such as Tyeb Mehta, K.H. Ara, Bhupen Khakhar, Rummana Hussain and Jangarh Singh Shyam.
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lundi 28 août 2023

Madhubani Art: ‘The Most Rewarding Aspect Is the Sense of Belonging It Gives You to Express Yourself'

Source The Wire by Ashutosh Kumar Thakur
Born in 1962, Santosh Kumar Das is an acclaimed Madhubani painting artist. He pursued his Bachelor of Fine Arts at M.S.U, Baroda. Following his BFA, he made a conscious decision to return to his roots in the village and continue his artistic journey in the traditional style, using a basic nib and ink to create mesmerising artworks. Ashutosh Kumar Thakur, a Bengaluru-based management professional and literary critic, speaks with Santosh Kumar Das about his life and works.
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samedi 26 août 2023

Art and Healing on the Anniversary of India’s Partition

Source Hyperallergic by Rhea Nayyar
Based in both Mumbai and New York City, Anagh Banerjee has pursued retellings of the Partition through his woodcut printmaking series The Other Side (2017–ongoing). Inspired by Käthe Kollwitz’s woodcuts born from the terrors of World War I and other such outputs of German Expressionism, Banerjee told Hyperallergic that the medium’s “gritty mark-making quality” lends itself to the subject of the Partition. The project began with Banerjee’s grandmother, who left her family behind in East Pakistan (now Bangladesh as of 1971) for India without returning for 15 years. Banerjee noted that she recalled her experience of the Partition in a very matter-of-fact tone — “There’s a sense of ‘what’s the point of talking about all of this now?’ that she and others I’ve interviewed for this project express,” he said. “I don’t think she or anyone else had the space or the time or the bandwidth to really grieve the loss of life, language, culture, and home, and they lack the vocabulary to talk about it because they haven’t ever been asked,” Banerjee continued. “I feel there needs to be a more nuanced way of talking about the individual experiences of this migration beyond the violence. I would like to balance the political narrative with the human story as the Partition generation is in the twilight of their lives.”
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lundi 10 juillet 2023

How graffiti gangs became mainstream ‘street artists’

Source Scroll In by Stefano Bloch
Graffiti has become so mainstream in recent years that auction houses, museums and entire art shows cater to street art connoisseurs and collectors around the world. Images in the news of young vandals responsible for marking walls have been replaced by sleek websites belonging to global phenoms such as Banksy and Shepard Fairey. In cities around the world, graffiti is now associated with “street artists” rather than violent street gangs. Today, many cities, from Pittsburgh to Pretoria, invite street artists to help brand neighborhoods that are being revitalized and gentrified as legitimately hip destinations for business owners, home buyers and influencers. Some up-and-coming neighborhoods in cities like Dakar, Senegal; Mexico City; Brisbane, Australia; and Seoul, South Korea offer street art tours and host graffiti festivals.
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Zasha Colah appointed curator of 13th edition Berlin Biennale for Contemporary Art

Source E-flux
Zasha Colah is a curator and writer. Her exhibitions and texts have been an exploration of artistic imagination under conditions of sustained oppression, often through the prisms of liveliness and restorative laughter. Her work considers a range of cultural practices as an unspoken infrastructure of acts and channels of counter-expression in disobedient terrains that confound militarization and earthly extraction. She is particularly interested in the point at which these practices may cross over to become collective. Colah was raised in Lusaka, Zambia, and Mumbai, India, where she lived and worked until 2014. She divided her time between Berlin, Germany, and Mumbai from 2014 to 2017, and for the last six years has been based in Turin, Italy.
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samedi 24 juin 2023

Nalini Malani Wins 2023 Kyoto Prize

Source Artforum
The Inamori Foundation in a statement credited Malani with “creating phantasmagorical spaces with approachable art forms using various media,” lauding her as having “contributed to the ‘decentralization’ of art that has been ongoing for more than thirty years since the end of the twentieth century.” The foundation additionally noted that she “comes from a region of the world where many women face difficulty achieving social advancement.” Malani participated in the fifty-first Venice Biennale in 2005 and exhibited at Documenta 13 in 2012. In 2017, she became the first Indian artist to be given a retrospective at Paris’s Centre Pompidou. Alongside Yanagimachi and Lieb, she will receive her prize at a ceremony taking place in Kyoto on November 10; the event will mark the first time in four years that the award has been presented in person.
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samedi 17 juin 2023

Why aren’t more artist x artisan collaborations acknowledged?

Source The Hindu by Georgina Maddox
In the dictionary, an artist is defined as “a person who creates art [such as a painting, sculpture, music, or writing] using conscious skill and creative imagination” and an artisan as “a worker who practices a trade or handicraft”. This hierarchy has been starkly visible in the art world for many years. The Udaipur-based American and his collaborating team of local artisans walked in on the opening day wearing the signature white fedoras that the protagonist of his works usually dons. But, despite the display of camaraderie, there was change brewing behind the scenes. Shortly after the Art Fair, two of Waswo’s long-time collaborators left to pursue their own careers. (Their names have been withheld for legal reasons.) The catalogue featured two new names: Chirag Kumawat, a dab hand at realistic style painting, and Dalpat Jingar, a border artist and miniaturist. “I am excited about the new collaborations, but, of course, doubtful too. What has been lost, and what has been gained?” ruminates the artist, who has exhibitions coming up in London this month, and plans in motion for a show in Mumbai next year. Incidentally, Waswo is one of the few artists who publicly validates the inputs of his artisan collaborators. The majority do not acknowledge them, treating them instead as fabricators and craftspeople.
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jeudi 8 juin 2023

Mithu Sen on Art, Poetry, and Lingual Anarchy

Source Ocula by Natalie King
Among visceral works on view is Sen's early video performance, Ephemeral Affair (2006), in which the artist is recorded flinching and contorting her face while being tattooed, but we cannot see her skin being perforated. Inducing states of unsettlement and discomfort, mOTHERTONGUE begins with an 'unacknowledgement' by Sen projected on the wall, signalling the awkwardness of Australia's colonial history, complete with word puns. A backlit kangaroo drawing rendered in ink and watercolour hangs nearby (Kangaroo, 2023). Sen's Un-acknowledgement (2023) questions the role of traditional land acknowledgements, which recognise the Aboriginal custodians of Australian land while amplifying its historical seizure—statements that often emphasise their position as foreign guests in Australia, or a museum.
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20 contemporary artists share their perspectives on time

Source Hapers Bazaar by Diya J Verma
Notations on Time, a group exhibition showcasing the works of 20 contemporary artists—on display at the Ishara Art Foundation, Dubai between January 18 and June 02, 2023—poses the compelling question: how does one measure time? Prompting a dialogue to highlight the complex, intertwined relationship between the past, present, and future—creations by artists Soumya Sankar Bose, Anoli Perera, Ayesha Sultana, Gauri Gill, Dayanita Singh, and Lala Rukh, among others, address the tangibility of time and explore its physiological dimensions. “Notations on Time is an experiment in conjuring an eco-system of time where dreams intersect with history, and seasonal cycles with the measure of each breath.
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mardi 6 juin 2023

9 new art shows in India to add to your June 2023 calendar

Source Vogue India by Huzan Tata
As we eagerly await the first monsoon showers to bring respite to our sunburnt selves, the latest art shows in India are continuing to satiate our creative souls as always. A special mention for Delhi’s Vadehra Art Gallery, which is showcasing works by the legendary Arpita Singh at London’s Frieze Art Fair—do catch it if you’re in the UK before the 17th of the month. Akara Art has diversified into two galleries recently, hosting separate spaces for their Modern and Contemporary art respectively, leading to SoBo gaining a new art gallery in the bargain. DAG’s Mumbai space is now displaying Iconic - Masterpieces of Indian Modern Art that was earlier on display in the capital and brings to its walls works by everyone from Amrita Sher-Gil to Raja Ravi Verma. Here’s our pick of more shows to head to this June:
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