lundi 15 octobre 2018

'India Should Consider Cultural Exchanges Much More Diverse Than British'

Source The Wire by Soumitra Das
Catherine David was in India last month on the invitation of the Raza Foundation and the French Embassy and was exploring the possibilities of holding an exhibition of Sayed Haider Raza’s works at the Centre Pompidou to coincide with the artist’s birth centenary in 2022. During her three-day stay in Kolkata, she was hosted by Reena and Abhijit Lath of Akar Prakar. She even visited Santiniketan for two days. I had conversations with her on two successive days after lunch, veering from one topic to another – from Bengali meals on the first day to the Laths served spicy Marwari food on the second, supplemented by biryani and firni, and on both occasions she enjoyed the rich cuisine. David seemed to take the heat and crowds of the city in her stride. That was probably in keeping with the keen interest she takes in the Bengal School and the city – “Calcutta” for her – where it was born. Touching on the exhibition being planned for Sayed Haider Raza’s birth centenary, David said she was considering putting him in dialogue with a contemporary like Kishen Khanna or maybe Ram Kumar, as their early works had a “common point.” Everything being in a fluid state now, Catherine David is expected to make her decisions by the end of this month.
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vendredi 5 octobre 2018

Metropolitan Museum of Art reclassifies status of Native American art for new exhibition

Source The Art Newspaper by Gabriella Angeleti
Donor of artefacts asked New York museum to present them as "American art rather than tribal art". An exhibition of Native American artefacts will take place in the American wing of New York’s Metropolitan Museum of Art for the first time in its history. The exhibition comprises 116 works from the collection of the US philanthropists Charles and Valerie Diker, who recently donated 91 pieces to the museum. The donation was made under the condition that they “would be presented as American art rather than tribal art,” says Charles Diker. “Perhaps to recontextualise what we define as American culture.” The Dikers began collecting Native American works of art in the 1970s while living near Serafina, New Mexico. Unlike the Modern and contemporary works that dominated their collection at the time, “Native American art was not about purchasing an artist, but rather preserving a culture and an aesthetic,” Diker says. The couple drew parallels between “anonymous Native American creators and artists like Jackson Pollock and Mark Rothko, who were inspired by, and able to translate, the abstraction of Native American art in their own work”, Diker says.
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Le Met doit rayer le mot "tribal" de ses œuvres "amérindiennes"

Source Le Quotidien de l'Art par Magali Lessivage
C'est la première fois que l'aile consacrée à l'art américain du Metropolitan Museum de New York, fondé en 1872, accueille une exposition d'objets « Native Americans ». Dans ses collections permanentes, les arts « amérindiens » sont exposés avec les arts d'Afrique et d'Océanie, tandis que l'« American Wing » présente des peintures, sculptures et œuvres d'arts décoratifs des XIXe et XXe siècles. Une distinction dont ne veulent pas Charles et Valerie Diker, qui viennent de faire don d'une collection de 91 pièces au musée, où elles sont exposées jusqu'en octobre 2019. Provenant de 50 peuples différents d'Amérique du Nord, elles sont léguées à condition d'être « présentées comme art américain et non art tribal, afin de recontextualiser ce que l'on nomme "art américain" » et de monter leur influence notamment sur des peintres tels Mark Rothko ou Jackson Pollock, dont les Diker sont aussi collectionneurs.

jeudi 4 octobre 2018

Kasturbhai Lalbhai Museum: A house for Indian art

Source The Hindu by Shailaja Tripathi
Ahmedabad is a city of museums — kite museum, a museum of utensils, a world-class textile museum, toy museum and more. Any addition to this list would be a mere add-on, unless it of some consequence. Sanjay Lalbhai and Jayshree Lalbhai understood this well and that’s why Kasturbhai Lalbhai Museum has a character distinct from any other of its ilk. The museum that opened to the public last year, is just a 100 metres away from the famed Calico Museum of Textiles in Shahibaug. At first, the architecture of this colonial structure draws you in, before the masterpieces inside take over.
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mardi 2 octobre 2018

A curatorial vision for Kochi-Muziris Biennale

Source The New Indian Express
Elaborating on this year’s theme - ‘Possibilities for a Non-Alienated Life’ - she said, “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 shared knowledge laboratory.”
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dimanche 30 septembre 2018

New York, New York

Source Hindu Business by Ella Datta
New York has for some years now been displaying the works of high-profile Indian artists. In 2016, Met Breuer (the Breuer building of the Metropolitan Museum) marked its opening with a definitive show of abstract artist Nasreen Mohamedi. Two years earlier, the Guggenheim Museum had exhibited Gaitonde’s works. It is not just the big names that are under the arc lights. This year, a relatively younger artist from Karnataka, Ranjani Shettar, showed her works at the main Metropolitan Museum, New York. The Met has also acquired her installation Seven Ponds and some Raindrops for its permanent collection.
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jeudi 27 septembre 2018

Cannibalisme sexuel

Source Galerie Hervé Perdriolle
L'omniprésence d'une pornographie impossible à réguler induit un certain retour à la morale dont l'érotisme fait les frais. Il est plus facile de retirer un Balthus ou un Mapplethorpe d'un musée que de contrôler les vidéos pédophiles sur le darknet. Ainsi, la pornographie cannibalise l'érotisme. Cette série de petits formats de T. Venkanna illustre cette dérive avec férocité et humour. La galerie Hervé Perdriolle expose une quarantaine de petits formats de T. Venkanna, l'un des 20 artistes sélectionnés pour le prix SKODA en 2010 et 2012. On a pu voir des œuvres de Venkanna, notamment, à l'exposition The Empire Strickes Back à la galerie Saatchi en 2010, à la galerie du Jour (M)other India en 2011, à la Biennale de Kochi en 2012-2013 et au Manoir de Martigny en 2018.
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Firebrands Who Forged a New Art for a New India

Source The New York Times by Jason Farago
Slowly, too slowly, museums are now taking up the task of rewriting the history of art since 1945 as more than just a “triumph of American painting,” as the veteran critic Irving Sandler called it. That kind of revision was the animating force of “Postwar,” the epochal 2016–17 show that Okwui Enwezor curated for the Haus der Kunst in Munich, and the last few years have also included significant shows of postwar painting from Cuba, Mexico, Poland, the Soviet Union, Turkey and South Korea in Western museums and galleries. It’s the animating force, too, of “The Progressive Revolution: Modern Art for a New India,” a new exhibition at Asia Society that showcases the leading avant-garde painters of India in the first years after independence. From 1947 to 1956, in the roiling atmosphere of post-Raj Bombay (now Mumbai), the dozen or so painters of the Progressive Artists’ Group, drawing on sources from Asia, Europe and the United States, forged a rebellious, forward-looking new style that could serve as the artistic model for a new, secular republic.
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lundi 24 septembre 2018

Lively Mithila village art graces museum walls

Source Examiner by Janos Gereben
Qamar Adamjee laughed when asked how much travel was involved in her curating the exhibit “Painting Is My Everything: Art from India’s Mithila Region” at the Asian Art Museum. “Many elevator rides to our storage at the lower level,” said Adamjee, the Asian Art Museum Malavalli Family Foundation associate curator. She adds, “The exhibition title is a quote from Dulari Devi, a featured artist whose personal life experience, from hardship to global recognition through her art, mirrors the changes in the practice of painting.” All 30 works on view come from what Adamjee calls “a somewhat impoverished region in Bihar state, the subcontinent’s rural northeast,” and all are owned by the museum.
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dimanche 23 septembre 2018

‘Invisible Webs’ by Amit Dutta explores the implications of artist Jangarh Singh Shyam’s death

Source The Hindu by Srikanth Srinivasan
This trans-geographical, trans-historical investigation culminates into a close formal analysis of Shyam’s art in the final chapter exploring the artist’s use of line and synthetic colours. This final section is a potent counterpoint to ideas of primitive art that rely on sociological explanations of art objects and questionable conceptions of aesthetic naiveté. In establishing Shyam’s painting as sophisticated and formally self-conscious, Invisible Webs calls into question the categories of tribal and folk arts that vastly different aesthetic tendencies are boxed into. Invisible Webs invites us to consider Shyam’s suicide not as an end, but as the beginning of a long, hard journey of collective introspection about our priorities as a developing nation. It gives meaning to Shyam’s death.
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samedi 22 septembre 2018

Art galleries: Homing in on heritage

Source Forbes India by Jasodhara Banerjee
Relocating to Devidas Mansion also brings Jhaveri Contemporary to one of the art hubs in the city. “There is one hub in Worli, with Saffronart, Nehru Art Centre and Tao Art Gallery being located there, and there’s another one here,” says Amrita. The Colaba neighbourhood is home to galleries such as Chatterjee & Lal, Galerie Mirchandani + Steinruecke, and The Viewing Room, while also hosting the offices of international auction houses Christie’s and Sotheby’s. “This building is like an old lady with wrinkles,” says Priya. “And we want to keep her that way.” Old buildings should not be a novelty in an old city. Especially in a city as old as Kolkata, which has imbibed English, French, Dutch, Danish, Armenian and Portuguese influences into its architecture. In the decades after the capital of the colonial government moved from Calcutta to Delhi (in 1911), the city continued to evolve with its creative and inventive architecture, up till around the 1960s.
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vendredi 21 septembre 2018

‘The Progressive Revolution: Modern Art for a New India’ Review: A Movement Looks Forward

Source The Wall Sreet Journal by Michael FitzGerald
‘The Progressive Revolution: Modern Art for a New India,” at Asia Society Museum, explores a remarkable intersection of art and politics in a landmark period of recent history: the early years of India’s independence and the arrival of Indian artists in the mainstream of global contemporary art. The six artists who formed the Progressive Artists’ Group soon after Jawaharlal Nehru proclaimed India’s independence in 1947 shared Nehru’s idealistic goal of a unified nation free of divisions of class, caste and religion, as well as the belief that India should play a prominent role in the postwar world.
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mercredi 19 septembre 2018

The Melting Pot

Source The Indian Express by Pallavi Chattopadhyay
Dalmia says, “What we had noticed was contemporary artists were reflecting upon the tumultuous and the turbulent history in their works. It was just not India, but the whole subcontinent — Sri Lanka, Bangladesh, Nepal and Pakistan. They also have a way of overturning this turmoil, showing how we can transcend it and the optimism to be followed. That’s why the title ‘The Edge’ is appropriate, showing how borders within the subcontinent are in a sizzling, steamy kind of a situation. Within the country itself, there are so many divisions. There is polarisation, divisions at the borders, and then there are the lower castes, the marginalised and women being further marginalized.”
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lundi 10 septembre 2018

Every painting has a price

Source The Sunday Guardian by Bhumika Popli
Roshni Vadehra, director, Vadehra Art Gallery, is hopeful about the future. “The primary market for contemporary artworks is better than the secondary market. The domestic market is very strong as a lot of young collectors have ventured into collecting. It is a great time for investing in contemporary art because the prices are quite stable. There are lots of options within contemporary art and gallerists are also encouraging collectors.” The art critic Girish Shahane links the upswing in India’s art market with the growing Indian economy. “The growth of the Indian art market is tied to the growth of the Indian economy,” he said. “The wider economy has been growing fast for nearly 20 years and shows no sign of a serious slowdown, which augurs well for the art market.”
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vendredi 7 septembre 2018

Rentrée littéraire

Ces derniers mois ont été riches en matière de publications sur l'art tribal et l'art populaire contemporains indiens. On peut saluer ici le très beau livre sur la collection de Mitchell and Nilou Crites dédiée à Jangarh Singh Shyam, The Enchanted Forest (titre de l'ouvrage) aux Editions Roli Books.

Une autre collection, celle d'Umesh Gaur présentée actuellement dans une exposition itinérante aux Etats-Unis, a donné lieu à la publication d'un livre largement illustré intitulé Many Visions, Many Versions (Edition IA&A). Pour ces deux ouvrages saluons le travail de recherche et d'écriture d'Aurogeeta Das.

Autre livre dédié à Jangarh Singh Shyam, Invisible Webs par Amit Dutta qui nous offre une étude passionnante replaçant l'œuvre de l'artiste dans un contexte universel. On souligne aussi la très belle mise en page qui fait de cette publication un objet d'art en soi (Edition IIAS Indian Institue of Advanced Study).

Le catalogue INDE au Manoir de Martigny nous permet de découvrir, grâce à de nombreux visuels en double page, l'accrochage de cette exposition présentant une centaine de pièces prêtées par une trentaine de collectionneurs. Ce catalogue, publié en juin (Edition Manoir de Martigny), est dédié à la mémoire de Jivya Soma Mashe, lequel nous a quitté le 15 mai.

Enfin dernière, publication en date reçue ces tous derniers jours, Indigenius Artists par Sunita Nair. Un impressionnant coffee-table book de 330 pages. Ce livre abondamment illustré couvre toutes les formes d'art tribal et d'art populaire les plus connues en Inde à travers les œuvres d'artistes contemporains, vivant et travaillant aujourd'hui (Editor Sunita Nair).

mercredi 5 septembre 2018

Asia Contemporary Art Week (ACAW)

Source E-Flux
This fall, the 13th edition of Asia Contemporary Art Week (ACAW) expands to a full season in New York (September 5–November 2, 2018) with 30+ leading museums and galleries presenting cutting-edge exhibitions and public programs citywide. The platform showcases 150+ artists with practices from or related to China, India, Japan, Korea, Mongolia, Thailand, Pakistan, Syria, and Kazakhstan among others. Alongside significant solo and group exhibitions, ACAW 2018 highlights numerous symposiums, performances, lectures, film screenings, and panels.
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The Otolith Group: A Lost Future

Source The Brooklin Rail by Swagato Chakravorty
Founded in 2002, the Otolith Group comprises Anjalika Sagar and Kodwo Eshun, who operate at once as artists, theorists, and curators. In the Otolith Trilogy (2003 – 09) the Group mingled science fiction, archival footage, live-action imagery, and narrative voiceovers to advance the notion of what they term “past potential futures.” The group’s work has primarily focused on India’s history of (ultimately frustrated) socialist and collectivist aspirations in the wake of the nation’s emergence from British colonial rule in 1947; her role in forging the Non-Aligned Movement which, from 1961 through the end of the Cold War, allowed a small number of nations to navigate a political pathway unaffiliated with either Western or Eastern blocs; and the revolutionary feminist and postcolonial actions that galvanized national sentiment for a few brief decades.
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lundi 3 septembre 2018

Kerala On A Canvas, By Ratheesh T

Source Mid-Day by Kusumita Das
Ratheesh was born in Kilimanoor in Kerala and received his Bachelor of Fine Arts degree from College of Fine Arts in Trivandrum. Speaking about his works, the artist says, "I think of my work in two ways. One is my personal journey, and the second is the larger world. If I make a painting like 'Saami', it is to paint the culture of the people. In 'Independence Day', one visual that is so compelling speaks volumes about the nation." He does this interesting spin off on the self-portrait where he makes an appearance in his paintings, and that is because, he sees his art as part of his own personal journey too.
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Jhaveri Contemporary's new Colaba residence is Mumbai's hottest art hub

Source Elle India by Neville Bhandara
Now, to celebrate its Colaba space, which gallerist and co-owner Priya Jhaveri calls “the perfect spot, blessed with natural light, high ceilings and lovely proportions”, the opening show, What’s Essential (on until September 29), sees multiple big names (including Begum and Singh) on display under one roof. “It includes works by 21 artists from the gallery’s programme; they explore its history and investigate the site of its new location,” she says. Don’t miss rare works by Mrinalini Mukherjee, Anwar Jalal Shemza, and a surprise “gift” to the gallery by artist Nalini Malani.
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samedi 1 septembre 2018


Source The Pioneer by Chahak Mittal
Women gallerists put together layers of metaphor as Delhi celebrates the second edition of the Contemporary Art Week. With women empowerment being the talk of the town in every sphere, the Delhi Contemporary Art Week is for the first time bringing together prominent women gallerists under one roof, namely Blueprint 12, Vadehra Art Gallery, Exhibit 320, Shrine Empire, Latitude 28, Gallery Espace and Nature Morte. Needless to say that they have brought their unique sensibilities to curate a larger voice from the south Asian neighbourhood, including countries like Pakistan, Bangladesh, Nepal, Sri Lanka and Afghanistan, and thread together a thematic commonality.
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Art auction raises 42.5 lakh for Kerala's disaster relief fund

Source Business Standard
A sum of Rs 42.5 lakh was raised for relief work in flood-hit Kerala in a day-long online fundraiser auction by Mumbai-based art auction house Saffronart. An official statement from Saffronart said the fund raised through the auction will be donated to the Kerala Chief Minister's Distress Relief Fund. The no-reserve online sale, having no buyer's premium, saw "Indians from around the world coming together to bid generously on the 32 featured artworks by leading Indian modern and contemporary artists", the statement said..
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Source Verve
The focus of my New York is the Rubin Museum of Art, an institution dedicated to art and ideas from the Himalayas and South Asia, where I am the curator of modern and contemporary art. Since 2010 — shortly after returning from Mumbai, where I spent two-and-a-half years pursuing my PhD in art history — I’ve been integrating modern and contemporary art connected to South Asia into the museum’s galleries. Two current exhibitions that I’ve had the privilege and pleasure to develop in 2018 in relation to the museum’s annual thematic consideration of ‘The Future’ exemplify this curatorial programme — A Lost Future: The Otolith Group and Chitra Ganesh: The Scorpion Gesture.
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lundi 27 août 2018

Gurcharan Das On How He Set Up One Of India's Earliest Corporate Art Collections

Source Mid-Day by Benita Fernando
"Tyeb's works aren't figurative. He looks at form, and the Diagonal series is an interesting way to break up space and colour," says Das, 74. Das' interest in modern and contemporary art can be traced back to his days as a student in Harvard, where he graduated in Philosophy, but was exposed to various other subjects, including art and architecture. Musing that he nearly thought of becoming an architect, Das joined Richardson Hindustan Limited (RHL) as a trainee in then-Bombay in the 1960s. "I would look longingly at paintings in galleries such as Chemould and Pundole's. My interest sort of grew from there," says Das.
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Celebrating diversity

Source The New Indian Express
Contemporary art in South Asia is creating more buzz now than it ever had. Art is a product of history and culture; two forces that form the context of the artist’s identity and evolution. Some of the world’s most populated countries are in South Asia, home to transitional societies and their lore. The Delhi Contemporary Art Week (DCAW) is an effort to portray their diversity and uniqueness on a single vast canvas consisting of hundreds of other canvases that bear the imprints of the region’s creative gestalt. In its second edition, DCAW is generating discourse that befits the shifting lens of au courant trends. Seven galleries in the city—Blueprint 12, Gallery Espace, Exhibit 320, Latitude 28, Nature Morte, Shrine Empire and Vadehra Art Gallery—are spearheading the new wave.
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Building Blocks: Talk of the Town

Source The Indian Express by Shiny Varghese
Jehangir Art Gallery could possibly be Mumbai’s grande dame of galleries. It was built when a need was felt to promote a national movement in contemporary visual arts. With its cantilevered portico, and modern yet classical architectural plan, it was the talk of the town. In the 1950s, two major artists’ collectives — Progressive Artists Group and Bombay Group — were at their prime. But there was no proper gallery to showcase work. Sir Cowasji Jehangir, a patron of the arts, was keen on a gallery that would promote artists both from India and abroad. MIT-trained architect Durga Shankar Bajpai, who designed the gallery, gave the RCC (reinforced cement concrete) structure an auditorium hall and an exhibition gallery. Sensitive and down-to-earth, Bajpai, fresh from his experience of working with Finnish architect-designer Alvar Aalto, brought both simplicity and technical experimentation to the work.
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