CONTEMPORARY ONE WORD SEVERAL WORLDS

lundi 18 juin 2018

Invisible Webs by Amit Dutta


"Invisible Webs" d'Amit Dutta est un livre fabuleux d'intelligence, de raffinement et de poésie tant par son contenu que par sa forme. Cet essai érudit et anticonventionnel est la première étude que j'ai l'occasion de lire sur un artiste indien, autodidacte et inclassable, Jangarh Singh Shyam, que l'auteur aborde avec le même sérieux et la même sensibilité que celui qui sied à l'étude de toute œuvre évidente et pleinement inscrite dans une logique historique. Elle s'inscrit dans une approche à la fois simple et complexe. A la manière d'André Malraux et de K. G. Subramanyan, elle contextualise l'œuvre ici concernée pour dépasser le seul champ des des beaux-arts, par trop limité quand on s'y complait et cantonne, et aborder celui, sans frontière, des sciences humaines. La découverte de ce livre est pour moi un plaisir immense. Un grand merci pour l'auteur et l'éditeur de cet ouvrage qui, autre prouesse, ont réussi à faire de cet essai, si dense du point de vue de la lecture, un objet, par sa structure éditoriale et sa maquette rafinée, un livre d'art exceptionnel.

"Invisible Webs" by Amit Dutta is a fabulous book of intelligence, refinement and poetry, both in content and form. This scholarly and unconventional essay is the first study that I have the opportunity to read about an Indian artist, self-taught and unclassifiable, Jangarh Singh Shyam, whom the author approaches with the same seriousness and sensitivity as that which suits study of any work that is obvious and fully inscribed in a historical logic. It is part of an approach that is both simple and complex. In the manner of André Malraux and KG Subramanyan, it contextualises the work here concerned to go beyond the field of the fine arts, too limited when it is used and confined, and address that without borders, social science. The discovery of this book is for me an immense pleasure. A big thank you for the author and publisher of this book, which, another feat, have managed to make this essay, so dense from the point of view of reading, an object, by its editorial structure and refined model, an exceptional art book.
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dimanche 17 juin 2018

Indian Art Touches New Records in Prices and Sales in Auctions


Source The Wire by John Elliott
Believed to have been bought by Kiran Nadar, India’s leading collector who has a large art museum in Delhi, the 32in x 16in oil on canvas fetched a total price of £548,750 ($732,000) including buyer’s premium. That was five to ten times the prices that have paid for similar works by the artist in other Christie’s auctions, and was inevitably a personal world record. There is strong competition between the four or five main auction houses for South Asian art sales at a time when the top collectors are only interested in an artist’s best works and when it is becoming increasingly difficult to find lots of sufficient quality.
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vendredi 15 juin 2018

Saffronart’s 200th auction: Tyeb Mehta’s Kali creates new record, fetches $3.998.000


Source Hindustan Times by Krutika Behrawala
Since its announcement as the centrepiece of Saffronart’s milestone 200th auction, all eyes were on Tyeb Mehta’s iconic Untitled (Kali; 1989). On Thursday evening, the painting that features the raging goddess – one of only three standing figures that Mehta painted in his lifetime – fetched a whopping Rs 26.4 crore (all prices are inclusive of buyer’s premium), setting a new record for the modernist. His previous record was set at a Christie’s auction where his 1994 Untitled (Woman on Rickshaw) sold for Rs 22.99 crore.
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mercredi 13 juin 2018

First List of Participating Artists for Kochi-Muziris Biennale 2018 Out


Source BLive
On curating an exhibition of this scale, Anita Dube noted: “My earliest intuitive vision for this edition of the Kochi-Muziris Biennale to explore the possibilities for a non-alienated life has remained with me. The need to listen, think, and learn with each other, particularly voices from the margins – of women, of the queer community, the oppressed castes, the whispers and signs of nature – with a spirit of freedom and comradeship is vital. In both the exhibition and the carefully designed interactive spaces, I hope the incredible range of exhibiting artists and visitors will become active participants and co-producers of the Biennale as a knowledge laboratory.”
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mardi 12 juin 2018

India’s Contemporary Art Market Makes a Cautious Comeback


Source The New York Times by Nina Siegal
“The auction houses pretty much vacated the contemporary sector post-2008 when there was a large correction to the Indian art market,” said Mort Chatterjee, co-director of the Chatterjee & Lal gallery in Mumbai. “In the last 10 years, it has been left to the contemporary gallery scene in India to carry the contemporary art market.” “We feel honestly — and it’s not only because I’m an eternal optimist — but I feel like 2018 is the year it will turn around,” he added. “One of the reasons is because of the India Art Fair, and there certainly is a new generation of Indian buyers whose fingers were not burned by that correction.” Priyanka Raja, co-director of Experimenter, said in a telephone interview that she had noticed a shift, but that she felt that growth was cautiously steady. “Privately, collectors are buying in a more meaningful way,” she said. “There is wealth in this country, but when the collectors start taking their collections more seriously, like they do now, there’s a lot of potential. But it’s still early. It’s hard to say that we are a booming market. No, it is a growing market.”
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mercredi 6 juin 2018

Earth Warriors: an amalgamation of traditional tribal and folk artworks


Source The Hindu by Medhavi Dhyani
‘Earth Warriors’ was brought to life by the celebrated art curator Minhazz Majumdar. Through the artworks she put together, she sought to represent the diversity within the umbrella category of tribal-folk art, which for her embodies the Indian artistic and cultural ethos, by including forms like Bhil and Gond Art from Central India, Warli paintings from Maharashtra, Hazaribagh paintings, Bengali Pattachitra art, Madhubani paintings from Mithila, and the bamboo basket-weaving craft from Meghalaya.
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L'Inde des champs et l'Inde des villes

Source Accrochages juin 2018

Pour son exposition d'été consacrée à l'Inde, le Manoir de la Ville de Martigny accueille, du 26 mai au 5 août 2018, les œuvres d'une quinzaine d'artistes qui permettent de découvrir la richesse et la diversité culturelle de l'art contemporain indien, côté campagnes et côté villes.
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lundi 4 juin 2018

Martigny: le Manoir illumine l'Inde, terre de contrastes


Source Le Nouvelliste par Jean-François Albelda
Jusqu’au 5 août, le Manoir de Martigny montre la diversité de la production artistique indienne, où tradition et modernité ne font qu’un.
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samedi 2 juin 2018

Painting on red earth

Source Mid-Day by Benita Fernando
Jivya Soma Mashe, who passed away this month, is credited not just as the artist who popularised Warli, but as the one who pioneered it as an art form. How did he make it relevant then and now? Mentored by Bhaskar Kulkarni, a senior member of Crafts Board, Mashe had his first solo exhibition in 1975 at Kekoo and Khorshed Gandhy’s Gallery Chemould. It was the first time that an exhibition of an artist from an indigenous community was held at a contemporary art gallery. When the gallery shifted in 2010, from Kala Ghoda to Fort, the gallerists decided to bid farewell by revisiting Mashe’s works, instead of a group show of any of the other stellar Modernists. “He was not just an artist who transported the ritual tradition into a parallel contemporary form of art, but also a man of vision. He could foresee that this art would convey the daily life of his people and his own life,” says Dalmia.
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Jivya Soma Mashe / Journée Portes Ouvertes samedi 9 juin de 11h à 19h


Galerie Hervé Perdriolle
Hervé Perdriolle vous invite à une journée spéciale portes ouvertes en mémoire de Jivya Soma Mashe, le légendaire artiste de la tribu warli, qui nous a quitté le 15 mai dernier. Une sélection d'œuvres et de documents permettront d'évoquer vingt années de rencontres privilégiées et d'expositions : Musée des Arts Décoratifs (Paris), Museumkunst Palast (Düsseldorf), PAC (Milan), Halle Saint-Pierre (Paris), Reina Sofia (Madrid), Fondation Cartier (Paris)... JOURNEE PORTES OUVERTES SAMEDI 9 JUIN DE 11H A 19H SUR INSCRIPTION PAR MAIL : h.perdriolle(at)gmail.com, merci de nous préciser votre nom et l'heure à laquelle vous souhaitez visiter la galerie.
> Jivya Soma Mashe présentation en ligne

When a Ravinder Reddy sculpture was almost destroyed by sledgehammers


Source Livemint by Tanuj Kumar
The scene could make for the nail-biting finale of a film—best imagined in slow motion. In the early 1980s, the Indian contemporary artist G. Ravinder Reddy made one of his earliest nude women sculptures, while on a scholarship at Goldsmiths’ College, London. His shoestring budget meant he couldn’t ship it to India, so he left it with his professor, recounts Reddy on the phone from Hyderabad. The professor, for reasons not known, passed it on to someone else. When the other custodian showed up to collect it from the college gymnasium, where it was kept, he was horrified to see people standing with sledgehammers, ready to dismantle the work. Its base had already been pulled apart but the sculpture was claimed by the collector at the last moment, freezing the falling hammers mid-air. “It really was with only seconds to go that I managed to save the Goddess,” writes the anonymous collector in a statement from Christie’s.
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jeudi 31 mai 2018

Traditional artist unknown

Source Business Standard by Kishore Singh

vendredi 25 mai 2018

Remembering the ‘Other Master’, Jivya Soma Mashe


Source Livemint by Radhika Lyengar
Artist and Padma Shri awardee Jivya Soma Mashe, who put Warli art on the global map, died on 15 May, aged 84, at his village, Ganjad, in Maharashtra. In an email interview, the French art critic Hervé Perdriolle, a friend of his, recounts his memories of meetings with Mashe. Perdriolle, who is also the founder of the Galerie Hervé Perdriolle, has over the last two decades tirelessly promoted the work of contemporary tribal and folk Indians artists, whom he labelled the “Other Masters of India”. He spoke to Lounge while putting together an exhibition of Mashe’s work at the Manoir de Martigny in Martigny, Switzerland, which opens on Saturday.
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mercredi 16 mai 2018

Last Rites Performed With State Honours: Jivya Mashe, who universalised Warli, dies at 84


Source Indian Express by Sushant Kulkarni
Mashe, who was awarded a Padma Shri award in 2011, had to his credit several national and international exhibitions, including solo and collaborations with artists of various genres. The artist is survived by his wife, three sons, two daughters and grandchildren. His eldest son, Sadashiv, is also a Warli artist. “He was not suffering from any ailment but had become very weak. His appetite, too, had reduced and from the last few months. He had not been able to paint. A week ago, he told me that he wanted to paint a lot but was very sad that he could not. I have lost my father, who was also my guru,” said Sadashiv.
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Globally-renowned Warli artist Jivya Shoma Mashe dead


Source Hindustan Times by Ram Parmar
In 1975, the then Prime Minister Indira Gandhi told Bhaskar Kulkarni,a senior member of the Crafts Board, Delhi, to find a traditional painter who could depict the tribal way of life, Patil said. Kulkarni came across Mashe’s paintings and presented him before the late PM, who was fascinated with his work, and encouraged him to spread Warli paintings worldwide, Patil said. In 1976, the then President of India Fakruddin Ali Ahmed allotted 3.5 acres of land to Mashe in the then undivided Thane district to propagate Warli art. However, Mashe got the land only after 35 years, in 2011, after the intervention of then Congress vice-president Rahul Gandhi.
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Décès de l’artiste Warli Jivya Soma Mashe


Source Connaissance des Arts par Guy Boyer
Jivya Soma Mashe, peintre Warli, est décédé à l’âge de 84 ans. C’est chez lui, à Dahuna taluka (état de Maharashtra à l’ouest de l’Inde), où il vivait depuis l’âge de onze ans, que l’artiste Warli est mort le 14 mai des suites d’une longue maladie. Né à Dhamangaon en 1934, il incarnait cet art traditionnel indien pour lequel il avait reçu en 1976 le National Award for the tribal Art et qui sera poursuivi par ses deux fils et sa fille. Cet art Warli, qui a commencé par des fresques sur les murs, a pris son essor dès les années 1970 en apparaissant sur des toiles et dessins et a peu à peu séduit le monde de l’art international.
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mardi 15 mai 2018

Acclaimed Padma Shri artist Jivya Soma Mashe dead


Source Times of India
In 1975, Mashe's maiden exhibition was held at the Jehangir Art Gallery, which heralded the arrival on the global art scene of the humble tribal artist from a hamlet in Palghar. There was no looking back. Soon Mashe and his Warli paintings travelled to various countries like the US, earning him accolades and kindling new interest in the hitherto unknown aspects of Maharashtra's tribal culture and arts. He was awarded several major national and international awards. Top personalities, including then Prime Ministers Jawaharlal Nehru and Indira Gandhi, appreciated his arts.
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Warli artist Padmashree Jivya Soma Mashe dies


Source The Hindu
Noted artist Jivya Soma Mashe, who popularised the Warli tribal art form, died here after a prolonged illness, an official said on Tuesday. He was 84. Mashe died at his home in Dahanu taluka late last night, according to an official in the Palghar district administration. He was conferred the Padma Shri in 2011 for his contribution towards Warli painting. He had got the National Award for the Tribal Art in 1976. He is survived by two sons, also Warli artists, and a daughter. He was accorded a state funeral. Mashe was known for his creative reinvention of an art form that was disappearing.
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lundi 14 mai 2018

Jivya Soma Mashe has just passed away


Yashodhara Dalmia, Jivya Soma Mashe and his wife, Balu and Sadashiv Mashe.


Jivya Soma Mashe and his wife


Jivya Soma Mashe and friends, photo T. Venkanna 2012


Hervé Perdriolle et Jivya Soma Mashe march 2017

Jivya Soma Mashe's grandchildren have just told me that Jivya died at 4 am this morning. This morning when I travel to Switzerland to organize one of my most important exhibitions on Indian tribal art with in particular, several wonderful paintings of this artist, this man, this friend. My sadness is immense. Jivya was a great artist but also an exceptional man respected by all of his community and well beyond. I shared with him my best moments in India. I think a lot about him and all his family.

Les petits fils de Jivya Soma Mashe viennent de m'apprendre que Jivya Soma Mashe est décédé à 4h ce matin. Ce matin où je pars organiser en Suisse une de mes plus importantes expositions sur l'art tribal indien avec notamment, plusieurs toiles merveilleuses de cet artiste, de cet homme, de cet ami. Ma tristesse est immense. Jivya était un grand artiste mais aussi un homme exceptionnel respecté par toute sa communauté et bien au-delà. J'ai partagé avec lui mes meilleurs moments en Inde. Je pense très fort lui et à toute sa famille.

jeudi 10 mai 2018

Journée Portes Ouvertes samedi 12 mai


Source Galerie Hervé Perdriolle
Dernière Journée Portes Ouvertes à la galerie Hervé Perdriolle avant la mise en place de l'exposition "Inde" au Manoir de Martigny du 26 mai au 5 août 2018 présentant une centaine d'œuvres de 12 artistes indiens sélectionnées auprès de 30 collectionneurs. Journée Portes Ouvertes samedi 12 mai de 11h à 19h rue Gay Lussac 75005 Paris : sur inscription en cliquant sur le bouton ci-dessous ou par simple retour de mail. Merci de nous préciser votre nom et l'heure à laquelle vous souhaiteriez passer.
> inscription

Etre galeriste sans galerie ?


Source Art Insider par Alexandrine Dhainaut
En janvier dernier, on apprenait que Nicole Klagsbrun participera à la prochaine Frieze New York qui se tiendra début mai. Détail non négligeable : la galeriste new yorkaise n’a plus de galerie, de lieu physique accueillant amateurs éclairés et collectionneurs. Une évolution qui peut prêter à réfléchir. Depuis huit ans, le galeriste en appartement Hervé Perdriolle, fait partie de ces cas d’exception. Pour décrire son quotidien, il nous reçoit dans son chez lui parisien, au milieu des œuvres fourmillant aux murs.
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Hervé Perdriolle, critique dʹart et commissaire dʹexposition


Source Radio télévision Suisse par Mélanie Croubalian
Portrait d'Hervé Perdriolle par Mélanie Croubalian dans l'émission Entre nous soit dit sur la RTS1 le 7 mai 2018... Au rythme d'extraits d'archives surprenants et facétieux qui évoquent de manière détournée et parfois anachronique une étape de vie, Hervé Perdriolle se confie au micro de Mélanie Croubalian pour éclairer le présent à la lumière du passé.
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mardi 8 mai 2018

'Day to remember' for art-loving nudists in Paris


Source Times of India
No shoes, no shirt, no problem: A Paris gallery gave nearly 200 people a rare chance for a clothes-free visit this weekend, the latest opportunity for the city's flourishing nudist scene. The Palais de Tokyo, a contemporary art museum in the shadow of the Eiffel Tower, offered the guided tour before opening to the general public on Saturday.
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vendredi 4 mai 2018

An art Historical inquiry into the life and death of Jangarh Singh Shyam


Source Indian Institute of Advanced Study by Partha Mitter
Jangarh Singh Shyam has found in Amit Dutta an ideal chronicler of the tortuous path the tragic Gond artist’s brief life took. Dutta locates Jangarh’s particular predicament within the wider historiographic framework, the uneven relationship between centre and periphery, between the West and the Rest, and between the elite and the underprivileged within global modernism — the concept of the periphery is not one of geography but of exclusion and inclusion. In the global arena, all Indian and other non-western artists suffer from a ‘time lag’, because their work is set against the ‘originary’ discourse of western modernism. Externally, this hegemonic teleology of the western canon has been central to the anxiety of non-western modernism, and Indian modernism in particular. Internally, the rise of ‘modern’ Indian artists with their elevated social status consigned the traditional, popular, folk and tribal artist, the subaltern groups as it were, to the margins of Indian art.
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And the Frieze New York stand prizes go to… Nuno Centeno and Jhaveri Contemporary


Source The Art Newspaper by Anna Brady
The Mumbai-based gallery Jhaveri Contemporary and Nuno Centeno from Porto, Portugal, have won the Frieze Stand Prize and Focus Prize respectively for their presentations at Frieze New York. Each gallery receives $7,500. The decisions were made by a jury consisting of Christopher Bedford (director of the Baltimore Museum of Art), Omar Kholeif (senior curator and director of global initiatives at the Museum of Contemporary Art Chicago) and Suzanne Cotter (director of the Madam Luxembourg Musée d’Art Moderne Grand-Duc Jean). Amrita Jhaveri, the director of Jhaveri Contemporary, says: “We took a complete gamble in showing Samant’s works, as he is little known internationally. We felt his work was contemporary enough for us to take on; we try to find Modern artists who relate to our contemporary programme.”
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