CONTEMPORARY ONE WORD SEVERAL WORLDS

mercredi 15 août 2018

AVANT-GARDE AESTHETES: JAGDIP JAGPAL’S ARTISTS TO WATCH OUT FOR


Source Verve by Tina Dastur and Preksha Sharma
In the second part of our series, the director and re-inventor of the Indian Art Fair, curates a list of nine, innovative multi-disciplinary artists.
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mardi 14 août 2018

ARTIST AND COVER GIRL RITHIKA MERCHANT’S FANTASTICAL WORLD


Source Verve Magazine by Skye Arundhati Thomas
In the early 2000s, Indian contemporary art made a turn for the conceptual. Many artists had seen great commercial success, but after the boom period ended, the market stagnated, collectors dwindled, and many galleries were forced to close down. The boom years were full of incredible stories: for instance, some galleries would estimate prices of the works on display by square footage. To understand the contemporary moment in the Indian art scene today, it is important to look back and see what the market now favours in relation to its past. When asked about the changing nature of the arts today, and whether she finds it to be more democratic than years previous, she says, “I think people still view art as highbrow because it costs a lot to own it. The price of a work can immediately create a barrier between the viewer and the object, because it is then seen as a luxury item.”
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vendredi 10 août 2018

My ideas run through my head like a film reel: Veteran artist Madhavi Parekh

Source Business Standard
"Women have always been artists, and there always have been glimpses of women's art within male-driven societies. Earlier, many women were kept from pursuing a general education, let alone arts training." However, she highlights the gradually changing landscape and says women have started to speak about the issues they face through art. To that extent, the retrospective, accompanied by an exhaustive book on the artist, seeks to understand, contextualise and place her contribution within the larger context of Indian modern art.
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jeudi 9 août 2018

TRACING THE SOURCE


Source Verve by Madhu Jain
In an exhibition currently on at the Musée des Arts Décoratifs in Paris, there is a startling image of Leonardo da Vinci’s Mona Lisa dressed in a rather drab communist worker’s uniform, her hair covered with a worker’s cap, painted by Roman Cieslewicz. Marcel Duchamp will be eternally remembered for the urinal he hung on a wall, as well as for mischievously painting a moustache on the face of the Mona Lisa, decades earlier. It was just a joke for him, but this work joined the canon of art history soon enough. While Manjunath Kamath’s witty and digital collages yoked mythological figures into contemporary spaces and plonked them together with people of our times, a few Indian artists have played around with Raja Ravi Varma’s portraits. Rohit Chawla photographed women dressed as characters from the works of the 19th-century painter. Indian painters are also rummaging through the country’s folk and tribal art, as well as sculptures of various centuries, ancient murals and miniatures to source imagery, colours and forms — and in search of inspiration and a different pictorial vocabulary. Not least of all vibrancy.
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mardi 7 août 2018

Before Midnight


Source The Indian Express by Pooja Pillai
Ruia explains that the backgrounds, in most of these collages, were made by women painters in Nathdwara, who would produce such backgrounds as a way of supplementing their income. These backgrounds were in keeping with the traditions of painting that had developed in the region over the centuries, although the contents that were eventually pasted on them brought in a distinct contemporary flavour. “The artists who made these collages were using their works to disseminate information about what was unfolding across the larger canvas of the country,” says Ruia.
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vendredi 3 août 2018

DAG's latest show -- a retrospective of Madhvi Parekh's works


Source DAG Mumbai
Spanning five decades of her painterly career, this retrospective includes iconic works by Madhvi Parekh which represent every phase of her illustrious career. The show also includes rare drawings and paintings from the 1960s, when the influence of Paul Klee’s abstraction on her early work was evident. Given the solid representation of Madhvi’s paintings from every decade, the exhibition allows viewers to see the continuity in her vision and focus. Providing a bridge between the urban and the rural through an impressive body of work, Madhvi, art historians and critics strongly believe, is one of the more uniquely talented women artists of Indian modern art. As someone who has begun to be seriously collected in recent years, the timing of the artist’s first ever retrospective is apt. DAG acknowledges Madhvi’s importance as an artist who deserves her position in the pantheon of Indian modernism for her painterly resolve to stick to her own language and oeuvre as a folk style modernist in the face of more conventional art making.
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jeudi 2 août 2018

Mysterious Box of Photographs Inspires a Globe-Trotting Art Show


Source Chicago Tonight by Marc Vitali
In 1945, an American soldier stationed in India took a series of photographs depicting everyday life in West Bengal. Nearly sixty years later, curators Jerri Zbiral and Alan Teller discovered a box filled with these photographs at a Chicago-area estate sale. Zbiral and Teller traced the box back to West Bengal and invited a group of Indian artists to respond to the photographs. Following the Box is an innovative contemporary art exhibition featuring painting, film, graphic illustration, and folk art, as well as multimedia and conceptual art. Each work draws inspiration from the original photographs, exploring the elusive nature of memory, political and military histories, and cultural identity.
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dimanche 29 juillet 2018

A LOST FUTURE SHEZAD DAWOOD/THE OTOLITH GROUP/MATTI BRAUN


Source The Rubin Museum
In the Otolith Group’s transtemporal consideration of modernity in urban India, the narrator questions, “Why do Indian artists produce so little science fiction?” The reply: “Satyajit Ray’s film The Alien would have rendered this question void. It is this emptiness that allows a nostalgia for a lost future.” The three-part exhibition A Lost Future challenges existing histories and speculative futures across cultures and in Bengal—a culturally rich region divided between present-day India and Bangladesh. The three contemporary artists featured in the exhibition—Shezad Dawood, the Otolith Group, and Matti Braun—engage an evocative range of mediums that spans virtual reality to an immersive lake along with painting, film, sculpture, and photography. Through rich storytelling, A Lost Future explores themes of virtuality, modernity, and world-making in ways that are universal as well as interconnected and specific to this region.
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mardi 24 juillet 2018

This new exhibition sees waste through a different lens


Source Vogue India by Heidi Volpe
What is old is new, what has been discarded is rescued and reassembled, resurfacing as something beautiful, something with message and purpose: A new exhibit at the TARQ gallery focuses on one of the most pertinent issues for our planet—waste—and forces us to look at it through a different lens. Seven Indian artists who specialise in waste as raw material were selected by curator and art historian Birgid Uccia, who poses the question “Is waste a resource or a problem?”, through the showcase, Waste Land, which is part of the biennial public diplomacy campaign “70 Years of Swiss-Indian Friendship: Connecting Minds – Inspiring the Future” of the Consulate General of Switzerland in Mumbai.
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A Martigny, l’art indien déploie ses racines


Source Le Temps par Jill Gasparina
Plutôt qu’Inde, cette exposition, organisée au Manoir de Martigny, aurait pu s’intituler Indes, car elle présente des œuvres issues de deux pays qui semblent encore, à beaucoup d’égards, vivre en parallèle l’un de l’autre. D’un côté, le monde indien rural, qui constitue l’origine de la majorité des artistes de l’exposition, issus de communautés tribales. De l’autre, l’Inde urbaine, représentée par deux jeunes artistes formés en école d’art. «L’Inde, comme l’art contemporain, est plurielle», explique le commissaire d’exposition Hervé Perdriolle dans le catalogue. Et il est, de fait, un ardent défenseur de l’idée de pluralité artistique.
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What is labour? An exhibition in Kolkata engages with the complex question


Source Scroll In by Devarsi Ghosh
The other giant painting-mural by Pachpute, Death of Dharma, is inspired by Dharma Patil, an 84-year-old farmer who committed suicide in January by consuming poison outside the Maharashtra secretariat. Death of Dharma is a companion piece to his Sea of Fists, which draws inspiration from the march of 25,000-odd farmers from Nashik to Mumbai in March to demand a waiver of loans and electricity bills. Sea of Fists is currently being exhibited at the Yinchuan Biennale in China.
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dimanche 22 juillet 2018

Amit Dutta: The reticent revolutionary


Source The Hindu by Udayan Vajpeyi
Dutta’s explorations are basically in two directions. He explores the history of cinema itself in his films (as in his diploma film ksh-tra-jna) and second, he explores other artistic traditions and the lifestyles around them. He thus succeeds in posing questions to both cinema and the art form he explores. Dutta asks: “Can we think of spaces like the school in Hermann Hesse’s The Glass Bead Game, which elevates students from immediate reality and helps them see nature and culture as a single interlocked ecosystem? Can we reconnect with nature and our own roots in an organic way? Can we imagine film schools that embrace the best of human tradition in all fields of knowledge?”
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vendredi 20 juillet 2018

Madhubani painters want better deal for their work


Source VillageSquare.in by Jigyasa Mishra
But things changed with the time passed by. The upper castes also started making Godna and the depressed castes showed their interest in painting mythological figures. They were no more made to strictly adhere to their confined art forms, and thus, the Madhubani Painting in its globalized form became a strong medium to break caste barriers apart, amongst the artists at least. This is the reason that today no one can judge the caste of an artist by her paintings.
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jeudi 19 juillet 2018

Rs 26 crore for the painting, Rs 0 for the painter. The Indian art world is riven by a deep divide


Source Scroll In by Georgina Maddox
Ironically though, Mehta did not benefit monetarily from it. Two years later he died of a heart attack, aged 82. The artist will always be known as a gentle soul, who painted for the disenfranchised and the marginalised, with a purity and vigour that was reflected in his simple lifestyle. He lived quietly with his wife Sakina, their son, Yusuf, and daughter, Himani. The art community – especially his gallery in Mumbai, Chemould – supported him with exhibitions and primary sales, but in retrospect, if Mehta had received a royalty from the sales of his work at auctions, it could have certainly helped him afford better healthcare.
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At Deutsche Bank, busy bankers find respite in art


Source Livemint by Shweta Upadhyay
From the lobbies to the corridors and cabins, the Deutsche Bank office at the Bandra Kurla Complex (BKC), Mumbai, is packed with art from India and Germany. In the reception area alone, you will find a sculpture by G. Ravinder Reddy and paintings by Chittrovanu Mazumdar, Krishen Khanna and Arpana Caur. Bernhard Steinruecke, a former CEO of the bank, who spearheaded the Indian collection in 1994, says over the phone from Mumbai: “We wanted to show our support for artists, who are a creative force in society. Our focus was on young artists and contemporary art in India and Germany, to cover what is happening in the art scene at that point in time.”
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JHAVERI CONTEMPORARY MOVES TO LARGER MUMBAI SPACE


Source Artforum
Jhaveri Contemporary has announced that after eight years in the Malabar Hill neighborhood of Mumbai, the gallery is relocating. It will move to a new larger home in the city’s historic area of Colaba. The new space, which is situated on the third floor of a nineteenth-century mansion on Mereweather Road, will triple the gallery’s footprint. Comprising two exhibition spaces, the new gallery boasts thirteen-foot ceilings, concrete walls, exposed beams, and large windows that let in an abundance of natural light. The gallery will also have two balconies with views of the Gateway of India and the Arabian Sea. A group exhibition that explores the gallery’s journey from its opening in 2010 until now will inaugurate the space.
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mercredi 11 juillet 2018

Explore 70 years of Indian handmade textiles at Jawahar Kala Kendra, Jaipur


Source Architectural Digest by Avantika Bhuyan
An exquisite narrative on textiles seems to be unfurling at The Museum Galleries, ensconced within the Jawahar Kala Kendra, Jaipur. A beautiful water lily design, block-printed on cotton, by Anokhi, Jaipur, shares space with an ikat scarf, designed by Abraham & Thakore, which was part of their first collection. In another area, one can see a screen-printed panel from the late 1970s-early 1980s, inspired by the Pichwais of Rajasthan and designed for the Calico Museum of Textiles in Ahmedabad. Especially striking is an embroidered tent, by designer Aneeth Arora, which was commissioned by the Devi Art Foundation.
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mardi 10 juillet 2018

jeudi 5 juillet 2018

Indians shine at Cannes Lion 2018


Source PrintWeek India
Indian agencies Creativeland Asia, Grey India and MacCann India bagged bronze on the day-two of the festival. Cannes Lion is an international festival for arts, communications and advertising industry which is ongoing from 18 June and will conclude on 22 June. Creativeland Asia bagged a Bronze Lions for its "Madhubani" "Pattachitra" and "Warli" campaign for Mercedes Benz India.
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Chemould shows young collectors the ‘modus operandi’ to buy affordable art


Source Architectural Digest by Uma Nair
Come September, Chemould Gallery in Mumbai will turn 55 years old. Shireen Gandhy, the czarina of the contemporary art world in India, has a yen for art that’s beyond the pale of convention. Ever since she joined her parents, Kekoo Gandhy and Khorshed Gandhy, in 1988, she has kept her finger on the pulse of Indian contemporary art, as she spends time discovering, developing sensibilities, and inspiring younger and emerging artists to go forth and conquer the most important art spaces across the world. Gandhy now embarks on a seminal exhibition at Chemould Prescott Road, titled, Modus Operandi, set to open on July 12. The show explores methods, modes, and process across media with an uncanny congregation of more than 25 of the best names in Indian art today, showcasing works that are targeted at young and not-so-young, but inexperienced collectors who are looking to buy the greats of contemporary Indian art at affordable prices.
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mardi 3 juillet 2018

Gond art legend Jangarh Singh Shyam killed himself in Japan on this day, July 3, 2001. Why?


Source Scroll In
On July 3, 2001, renowned contemporary artist of the Pardhan Gond community Jangarh Singh Shyam committed suicide at the Mithila Museum in Niigata, Japan. He was just 39. Born on the small green hill of Patangarh, Jangarh was famously “discovered” in 1981 by artist J Swaminathan and his scouts from Bharat Bhavan in Bhopal. Mentored by Swaminathan who had a reputation as a “primitivist”, Jangarh exhibited widely and came to be regarded as a major artistic force by stalwarts like MF Husain. Since his passing, many books and documentaries have been made on Jangarh. Experimental filmmaker Amit Dutta recently published Invisible Webs: An Art Historical Inquiry into the Life and Death of Jangarh Singh Shyam. Last year, art historian Aurogeeta Das curated the collection Jangarh Singh Shyam: The Enchanted Forest, which featured Jangarh’s artworks from the Crites Collection.
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mercredi 27 juin 2018

Bridging Past And Present: The Kochi-Muziris Biennale Returns


Source Harper's Bazaar by Dana Awartani
As the largest contemporary art biennale in South Asia, the Kochi-Muziris Biennale returns this year from 12 December to 29 March 2019 and will feature a series of talks, workshops, film screenings and music alongside its central art show, the likes of which have never been seen in India before. Located in Kochi, the heart of Kerala, the fourth edition of the exhibition reignites regional ties to the city’s mythical past in the midst of its fast-paced economic and cultural boom. It bridges Kochi’s history of trade and intercultural interaction at the ancient and now archaeological port of Muziris, with its current realities in a global context.
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Connecting the Dots


Source The Indian Express by Divya A
Galarrwuy Yunupingu, a towering leader of the Australian indigenous community, had remarked in 1989: “English is incapable of describing our relationship to the land of our ancestors. We decided to describe it in a way we hoped non-Aboriginal people would understand; through pictures. If they wouldn’t listen to our words, they might try and understand our paintings.” It is perhaps this concept that finds resonance in this section of the showcase. Pausing before a giant canvas painted with spiral lines, created by a woman aboriginal artist, Emily Kam Kngwarray in 1995, Cubillo says, “Aboriginal art is more popular than any other art in Australia. In fact, the highest price that a work has fetched till date has been done by this artist, who recently passed away.” Adwaita Gadanayak, Director-General of NGMA, says, “The display holds lessons for us on how to preserve and focus on our traditional art forms. For instance, the Gond art form of Madhya Pradesh is quite old and unique, but we dismiss all our tribal art forms as ‘craft’.”
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