CONTEMPORARY ONE WORD SEVERAL WORLDS

mercredi 21 août 2019

New York: Christie’s is all set to celebrate 25 years of art curation


Source Architectural Digest by Uma Nair
Market studies clearly show that for two decades Christie’s has commanded 70% of the market share for South Asian Modern + Contemporary Art in 2018. Eight of the top ten auction prices in the category have been achieved at Christie’s. Results in sale reflect that between 1994 and 2005, Christie’s sold approximately $20 million of South Asian Modern + Contemporary Art, while between 2005 and 2018 sales in the category surpassed $400 million. Selling rates in New York achieved over 90% by lot in March 2019, and a year earlier the New York sale established the highest price for the category when Tapovan by abstract master Syed Haider Raza sold for $4.45 million.
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mercredi 14 août 2019

Antilia, la folie de Mukesh Ambani


Source Les Echos par Tristan Gaston-Breton
Les six premiers étages peuvent abriter 200 voitures, dont les 168 véhicules de collection appartenant au maître des lieux. Un atelier de réparation - avec ses mécaniciens - et une station-service ont même été prévus. Quatre autres étages sont entièrement occupés par des jardins suspendus et un encore par un hôpital privé équipé du matériel le plus récent. Le bâtiment abrite également quatre piscines - dont une olympique -, un spa et un centre de « fitness » dernière génération, une salle à manger copiée sur celle d'un grand hôtel new-yorkais, une salle de réception et de bal, une dizaine de salons, un théâtre de 50 places, une salle de cinéma avec écran géant, un temple privé, et trois héliports aménagés sur le toit !
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mardi 13 août 2019

See Inside India’s Opulent New Sculpture Park in a 19th-Century Palace


Source Artsy by Alina Cohen
About four miles from the center of Jaipur, in northwest India, Nahargarh Fort rises from the scrub-studded hills. Madhavendra Palace peers out from inside the stone fortress walls, its 19th century architecture rhyming with the ornate, pastel architecture for which the city is famous—30 minutes away, the Hawa Mahal, an apricot-hued, layer cake of a building attracts tourists and photographers year round. In December 2017, Madhavendra Palace itself became a major destination when it opened as India’s first contemporary sculpture park.
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samedi 10 août 2019

From Gandhi to the UN: Indian artist weaves story of destruction and rebirth in Hong Kong show


Source South China Morning Post by Enid Tsui
They will see themselves becoming one of the crowd. There are a number of large paintings filled with many small figures and animals. Indian art history, especially Mughal miniatures, seep into his work just as his parents, friends and former teachers do, he says. He often paints the figures and animals in a grid-like, orderly arrangement but something always disrupts the surface tranquillity. This is true of Come Give Us A Speech (2008) – a series of panels that show all kinds of people and a few deities sitting in plastic chairs – where plumes of black smoke cover parts of the painting. That work is accompanied by Gathering is Evil (2007), in which the only figure is a large, black skeleton against a background of empty, ghostly chairs.
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mardi 6 août 2019

Art Exhibition: Canopy for Conservation


Source Outlook India by Nayanika Mukherjee
The deity Baradeo sits on a lotus leaf, when the idea of Creation dawns on him. He looks around, but water spreads till the edge of the horizon. He rubs his chest with pensive intent, and fashions a crow from the grime. It flies far in search of clay to further Creation, until tiredly landing atop a stump. But this is no tree—it is the claw of a mystical crab, who reveals where all the clay has gone. A giant earthworm in the nether world collects and feasts on it. The crab pulls him out of this damp abode, and forces the worm to spit out the clay. The crow quickly grabs it, and flies home. With a spiderweb woven atop the watery expanse, Baradeo fashions the Earth’s creatures from this clay. If Indian creation myths are your cup of tea, Gond legends are a quirky starting point for the inquisitive. As one of our largest and oldest tribes, their folklore is intricate and imaginative.
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mercredi 24 juillet 2019

Mumbai: Chemould Prescott Road brings to life the second edition of Modus Operandi


Source Architectural Digest by Arya Chatterjee
The show embarks on creating a journey for inexperienced collectors, young or old, to buy great works of contemporary art at affordable prices. According to Gandhy, who has an eye for Indian contemporary art, some of the works featured in this exhibition were discovered after rummaging through artists’ stock rooms. A few were especially created for the show. “An artist’s studio is a sacred space not accessible to all, a place where they pursue all their inspirations. I have had the privilege of exploring these spaces and have always come out enriched and inspired by the work that I have seen,” she says. To evoke the same sense of excitement and awe for the viewer, Gandhy hopes to bridge this gap, bringing to light the process of evolution that each artist goes through in creating a work of art. Bringing something from the studios of all the featured artists—mood boards, drawing books, worktables, chairs, photographs to sculptures—Gandhy turns the gallery into a montage of various studios. The show is truly a mixture of the creative chaos that is an artist’s mind.
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lundi 22 juillet 2019

With Jean Pigozzi's contemporary African art donation, MoMA to become a 'leader' in the field


Source The Art Newspaper by Nancy Kenney
The Museum of Modern Art (MoMA) announced today that the collector and photographer Jean Pigozzi was donating a “transformative” gift of 45 works of contemporary African art to the museum, positioning MoMA to become a “unique institutional leader” in the field. Glenn D. Lowry, the museum’s director, said in a statement that the gift would play an important role in the ambitious re-installation of MoMA’s permanent collection, which is taking shape as the institution prepares to reopen on 21 October in expanded galleries. The museum has cast the rehanging as an opportunity to rethink the entire history of Modern and contemporary art, highlighting and juxtaposing artists of more diverse backgrounds and geographic origins.
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samedi 20 juillet 2019

It is extremely urgent that the Indian art community reaches out to local audiences: Shanay Jhaveri


Source The Hindustan Times by Srishti Jha
In April 2016, I joined The Metropolitan Museum of Art as its first incumbent curator for Modern and Contemporary art from South Asia and immediately proposed Mukherjee’s show. The Museum’s Modern and Contemporary department under the leadership of Sheena Wagstaff has been committed to reconsidering a received art history. This has manifested in our exhibition programme as well as our collecting approach. The Met Breuer was inaugurated with a solo show of Nasreen Mohamedi and since then Modern and Contemporary Art from South Asia has been consistently represented at the Museum. Mohamedi set the pace and spirit for the programme. I felt that Mukherjee would be the right artist to follow Mohamedi, with a solo retrospective at The Met Breuer; they are two artists occupying the furthest ends of the artistic spectrum in their visual idiom, particularly in relation to the breadth of the modernity projects cultivated and nurtured in and through Baroda.
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vendredi 19 juillet 2019

Non-stop Rain Room at Sharjah Art Foundation


Source Indian Blooms
The Rain Room is an unusual and evocative experience for visitors who will enjoy the sound and nearby feel of being in the rain without getting wet. When visitors enter the room, they are directed to navigate intuitively and carefully through the dark underground space in order to protect themselves from the downpour. As the visitors walk through the room, which uses 1,200 liters of self-cleaning, recycled water, their movements trigger motion sensors that pauses the rainfall when detecting movement. Founded in 2005, Random International is a London-based collaborative studio for experimental and digital practice within contemporary art. Their work, which includes sculpture, performance and large-scale architectural installations, reflects the relationship between man and machine and centres on audience interaction.
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dimanche 14 juillet 2019

On Ravinder Reddy’s first one-man exhibition in Kolkata


Source The Hindu by Soumitra Das
The gopurams or pyramidal towers of South Indian temples bristle with thousands of figures of deities. Rural deities or grama devatas, occasionally stark naked, are the guardians of villages in Tamil Nadu and Andhra Pradesh. G. Ravinder Reddy strips these figures of their divinity and turns them into icons of working women of our times, transformed in his imagination into empowered goddesses who can hold their own, irrespective of class and social status.
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samedi 13 juillet 2019

Delhi art lovers do not miss out on this exhibition at Kiran Nadar Museum of Art


Source The New Indian Express
If you haven’t caught the big fat retrospective exhibition of one of India’s leading woman contemporary artists, Arpita Singh at Kiran Nadar Museum of Art (DLF South Court Mall, Saket), you have till July 14. About 180 works by the 82-year-old Delhi-based artist have been curated by Roobina Karode in the show titled Submergence: In the Midst of Here and There. Singh who hails from Baranagar in Kolkata, graduated with a Diploma in Fine Arts from Delhi Polytechnic in 1959. In 1972, she had her first solo exhibition at Kunika Chemould Gallery, New Delhi.
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vendredi 12 juillet 2019

A Tribal Tradition Under Threat


Source Raw Vision by Deidi von Schaewen
The Adivasi tradition of house painting is centuries old; some say, it is rooted in prehistoric rock art. Passed from generation to generation, mothers and aunts to daughters and nieces, the practice occurs across the region’s different tribes, such as the Oraons, Santals, Mundas, Ganjs and Kurmis. There are a dozen or so different styles of house painting, but within those styles the murals are personal to the tribe and to the artist, variations even occurring from house to house. The Adivasi consider their homes to be sacred, and daubing their walls with art is an expression of faith, identity, culture, pride, family, love, thanks and more.
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mardi 9 juillet 2019

Indian Art and Culture: The book ‘A Conjuror’s Archive’ pays an ode to artist Jangarh Singh Shyam


Source Architectural Digest by Avantika Shankar
Jangarh would recreate the world of the stories he grew up with—a world so distant from the modernist art school he was studying in—and in that sense, created a contemporaneity of his own. “Modernism cannot be confined to certain movements in modernism,” muses Dr. Jain, “He has also done a couple of autobiographical works—tribal artists don’t do that. Where would you place this interaction? It is a kind of modernity. His marginalisation, his coming away from the tradition to which he belonged, his recreating that entire world of imagination…to surpass all other art school-trained artists who were around him…” Dr. Jain explains. “There are modern artists who continue to do what they’re doing, in some way or the other, and that isn’t innovation.” Jangarh Singh, on the other hand, was perpetually throwing himself into new forms—from using poster colours for the first time at age 18 to using architectural forms as his canvas—and the continued relevance of his work is a testament to his revolutionary mind. “If modernity comes from being open to new things, imbibing them in your work…” Dr. Jain says, “I think he was able to do that all the time.”
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dimanche 7 juillet 2019

Prabhakar Barwe, the Jacques Derrida of Indian modernism


Source National Herald by Vibha Galhotra
In the scorching heat of Delhi, while all seemed grumpy and dull, walking into the National Gallery of Modern Art (NGMA) changed the pace of my day. The cool breeze of the gallery along with the experience of space, colour, form and poetry, as I entered the retrospective exhibition ‘Astitva: The Essence of Prabhakar Barwe,’ brought back a different sense of fulfillment. A forgotten hero of modernist, pre-contemporary art movement in India, Prabhakar Barwe (1936 – 1995), was much ahead of his time and was widely appreciated by his peers and seniors for his unique sense of depiction and his concern with the language of painting rather than visual images and signs. Given his attention to detail, it goes without saying that Barwe was quite analytical of his work and constantly seeking deep meaning through experimentation with colour and form. His style and process somehow reminds me of the concept of deconstruction introduced by philosopher Jacques Derrida who explored the interplay between language and the construction of meaning in search of learning about the intended meaning or structural unity of a particular text. Similarly, Barwe was trying find newer realities created by abstracting an image from its real form. In one of his notes Barwe mentions, “The interplay between concrete and abstract is my prime preoccupation. It gives me immense pleasure to work on that meeting point to that thin line of demarcation, where abstraction meets the concrete or separates from it.”
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mercredi 19 juin 2019

At the Met Breuer, Awe-Inspiring Sculptures of Deities Show How an Indian Artist Forged Her Own Personal Language for Fabric Art


Source Artnet News by Ben Davis
My sense is that the public might be in danger of missing the Mrinalini Mukherjee show, “Phenomenal Nature,” which opened recently at the Met Breuer, because her name is not well known, and because it lacks an easy hook. Mukherjee hailed from a different art world, India in the 1970s to the 2000s, and her work draws on a pool of references and traditions that might be slightly unfamiliar. But at the same time, her sculptures eschewed the kinds of easily marketed images of “Indian-ness” that the global contemporary art biz sometimes feeds on. It has its own rhythms, and you can’t approach it either purely formally or purely iconographically, but have to find some other way in.
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mardi 11 juin 2019

Bhupen Khakhar's painting on homosexuality breaks auction record


Source Business Standard
"Two Men in Benares", a 1980s painting by Indian contemporary artist Bhupen Khakhar has set a new auction record for the painter by selling at a whopping $3.2 million here. The sale took place at the Sotheby's auction house on Monday. Going under the hammer was the "Coups de Coeur: The Guy and Helen Barbier Family Collection", an offering of 29 artworks from one of the finest collections of 20th century Indian art in private hands. When Khakhar (1934-2003) first unveiled "Two Men in Benares" in Mumbai in 1986, he became the first Indian artist to freely disclose his sexual orientation through his work.
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lundi 10 juin 2019

Jogen Chowdhury’s new gallery is a much-needed pick-me-up for Kolkata’s art world


Source The Hindu by Soumitra Das
This lacuna has been somewhat filled, though in a small way, with Jogen Chowdhury’s five-storey building devoted entirely to the visual arts. The first of its kind in Bengal, the museum is on a street opposite the busy South City Mall on Prince Anwar Shah Road. Charubasona, the Jogen Chowdhury Centre for Arts, was inaugurated in April in the presence of the eminences grises of Kolkata’s cultural world, including poet Sankha Ghosh, artists Rabin Mandal, Ganesh Haloi and Partha Pratim Deb, actor Soumitra Chatterjee, litterateur Sirshendu Mukherjee, and art critic and historian Pranabranjan Ray.
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vendredi 7 juin 2019

Inside sculptor Mrinalini Mukherjee’s highly-anticipated exhibit


Source Vogue India by Shanay Jhavery
I remember the first time I came across Mrinalini Mukherjee’s art—it was the early 2000s at a private collector’s home and a sculpture titled Adi Pushp II (1998-99). The bold evocation of sexuality, the exceptional handling of fibre, and the deft deployment of colour… it was a revelation. I was a PhD student when I met her for the first time in 2014. The following year we had planned to spend more time together in Delhi after her retrospective at the NGMA, but sadly she passed away a week after the opening. I never imagined then, that one day I would be curating her first international retrospective and also editing the most comprehensive monograph on her prodigious practice.
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mardi 4 juin 2019

Met, New York: Mrinalini Mukherjee’s sculptures will flourish at the museum this summer


Source Architectural Digest by Uma Nair
“The historic exhibition takes a deep look at Mukherjee’s crucial work, highlighting her anthropomorphic sculptures exploring spirits, deities, feminism and sexuality,” says Max Hollein, museum director. “Together these pieces will demonstrate the significance of Mukherjee’s oeuvre to the evolution of modern art in India and her role as a forerunner of contemporary figurative sculpture.” The exhibition’s curator is Shanay Jhaveri, Assistant Curator, South Asia, in The MET’s Department of Modern and Contemporary Art. “Mrinalini always enjoyed subverting conventions,” says Jhaveri. “She prefers to explore the hidden character of the material, its tactile potential, its ability to express a daring yet subtle eroticism, its power to contain within it an organic fecundity.”
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mercredi 29 mai 2019

Venice Biennale 2019: At the coveted fair, there’s more to India than just Gandhi


Source Architectural Digest by Ankush Arora
India’s return to the Venice Biennale, after a gap of 8 years, has caused much cheer among the country’s close-knit art fraternity, even as the country’s Pavilion theme —‘150 Years of Gandhi’—is the latest example of the national icon being marketed superfluously. While it is anybody’s guess as to what extent Gandhi actually influences the country’s 1.3-billion population, the 58th edition of world’s oldest international art exhibition resonates with themes more contemporary to India. From the self-explanatory curatorial theme (‘May you live in interesting times’) to debates around gender and sexuality, constrained freedom or systems of democracy, extreme weather events and perils of technology, the Venice Biennale’s diverse presentations speak to anyone trying to make sense of a rapidly churning world. From the nearly 100 national pavilions and numerous parallel exhibitions that are part of the biennale, here are AD’s select five picks.
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mardi 28 mai 2019

Why they love the cage


Source The Pioneer by U Nair
Shakuntala’s sculptures have an Indian insignia. “ I used the armour as a metaphor to explore how I could protect my body,” states Shakuntala. “I borrowed from all kinds of cultures; Naga masks, Rajasthani ghagras, hair styles from Bollywood in the 1960s — my pieces have no cultural, geographical or religious boundaries. I used cane because I am comfortable with it; also, it is linear, delicate and looks grand. There are rings, bangles, flared skirts and it is very feminine.” As you look through the cane — the ideation seems full of multiple perspectives.The cane is tenuous and tensile, flexible yet delicate in a strong sort of way. No doubt there are many references — history culture and the beauty of dances, Kathakali and Manipuri costumes and regalia become a translation — that are royal yet replete with rhythmic intonations.
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lundi 27 mai 2019

Nalini Malani Wins 70.000 € Joan Miró Prize


Source Art News
In a statement, the prize’s jury said, “By alluding to a myriad of cultural references from both East and West, [Malani] has built an impressive body of work that engages viewers through complex, immersive installations that present her vision of the battered world we live in. Her interest in ancient mythology, both Greek and Indian, as well as in modern symbols and image-making, has allowed her to develop a very personal, cosmopolitan iconographic mingling that boldly denounces contemporary violence and injustice, and their effects on planetary life.”
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dimanche 26 mai 2019

The extraordinary art of ordinary things


Source Hindustan Times by Shunali Khullar Shroff
Artist Shilpa Gupta’s studio on the second floor of a quaint Parsi bungalow in Bandra is extraordinarily spacious. Extraordinary is also a word one could apply to Gupta’s work, which she creates by using quotidian objects in unexpected ways. Gupta has had a successful joint exhibition in Dubai this year. Even today, having participated in biennales and triennales across the world, from Havana to Yokohama, Seoul to Sydney, Kochi to Venice, it is with a sense of disbelief that she receives the high praise for her art. This isn’t pretend modesty. Gupta is resolutely pessimistic when it comes to her work. Her installations have graced galleries such as Tate Modern, Centre Pompidou, MoMA, Serpentine, Guggenheim and closer home, the Kiran Nadar Museum of Art and Devi Art Foundation. And yet, exhibition after successful exhibition has been preceded by a foreboding that it will all end in disaster.
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mercredi 22 mai 2019

How India Inspired the Barbier Family’s Infatuation with Art


Source Sotheby's
Discover an exciting collection of works by some of the most important and avant-garde artists from South Asia in our upcoming sale Coups de Coeur: The Guy and Helen Barbier Family Collection (10 June | London). When Guy Barbier’s career took his family to India in the 1980s, it was the start of a love affair with the country and in particular its modern and contemporary art. From Bhupen Khakhar’s controversial Two Men in Benares, to inspirational works by Ram Kumar, Maqbool Fid Husain and Rameshwar Broota, the sale tells the story of the Barbier family’s friendships and their cultural journey through the Subcontinent. Click here to watch more Sotheby’s videos.
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mardi 14 mai 2019

David Adjaye chosen to design 'game-changing' contemporary art museum in India


Source The Art Newspaper by Tim Cornwell
The UK-Ghanaian architect David Adjaye has been chosen to design what is set to be the most significant contemporary art space in India. The jury the Kiran Nadar Museum of Art's design made the announcement yesterday in Venice at a dinner for the Indian pavilion at the waterside Palazzo Pisani Moretta. The planned museum is “an important milestone for Indian contemporary art", says Shwetal A. Patel, an art writer and researcher at the University of Southampton, adding that "the appointment of Adjaye Associates has added a measure of excitement and anticipation".
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Venice Biennale 2019: India's pavilion, celebrating 150 years of Gandhi, is in world's Top 10


Source Forbes by Ridhi Doshi
Roobina Karode, curator of the India Pavilion at La Biennale di Venezia (the Venice Biennale), apologises for a sore throat on a phone call from Venice. Her voice is strained from the excitement. “The response is overwhelming. So many people want to know more about the works and are asking for curated walks," says Karode. The exhibit 'Our Time for a Future Caring', celebrates 150 years of Mahatma Gandhi, and has been listed among the top 10 country pavilions from a total of 90, by the Financial Times and leading art website artsy.net, alongside the US, Switzerland, Poland and debut country Ghana.
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dimanche 12 mai 2019

‘I aim to create a culture that values creativity’


Source The Guardian by Bhumika Popli
A Delhi-based art patron, Shalini Passi is known for her philanthropic projects and support programmes aimed at promoting Indian art. Through the Shalini Passi Art Foundation and MASH, and through her association with major cultural forums across the country, she continues to make significant contributions to the contemporary art scene. She spoke to Guardian 20 about her various projects.
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samedi 11 mai 2019

India’s big splash at the Venice Biennale 2019

Source The Hindu by Georgina Maddox
On condition of anonymity, a contemporary artist shares that while “it is wonderful that India is being represented at the Venice Biennale, why take such a safe and tested path by invoking Gandhi and making ‘all the right noises?’ It casts us as a secular nation when indeed the reality is quite different.” However, Karode responds emphatically, stating that she didn’t conceive the exhibition as a literal representation of the Mahatma in a documentary-like format. “I was more inclined to look at aspects of his practice. He keeps returning to public conscience in periods of crisis or despair; he is the subject of contemporary reflection. [There is] also the idea of craft, dignity of labour and emphasis on self-reliance,” she says. At this point one must ask, is it the job of art and artists to reflect only the current state of the country or should they project a vision that is critical of the times? We would favour the latter, and Venice is a good starting point.
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vendredi 10 mai 2019

Singapore based Indian artist Shubigi Rao to curate Kochi Biennale 2020


Source The News Minute
Mumbai-born Rao, whose work featured in the fourth edition of the KMB (2018), is also a writer and her myriad interests include archaeology, neuroscience, libraries, archival systems, histories, literature, violence, acts of cultural genocide, anti-censorship, migratory patterns, ecology and natural history.
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Keeping Gandhi relevant in Venice


Source Livemint by Avantika Bhuyan
The historic pavilions of Giardini and Arsenale are all set to serve as a backdrop to works by eight Indian artists, such as Nandalal Bose, M.F. Husain, Jitish Kallat and Atul Dodiya. Part of the exhibition Our Time For A Future Caring, these works mark India’s second stint at the 58th Venice Biennale (11 May- 24 November)—the world’s oldest and most prestigious art event—after a hiatus of eight years. The country’s debut at the biennale, with a national pavilion, came about only in 2011—nearly 116 years after the event first started—with Everyone Agrees: It’s About To Explode, curated by Ranjit Hoskote. In subsequent years, India was conspicuous by its absence, even as countries such as Angola, Georgia, Maldives and Tuvalu continued to participate. There was a murmur of a presence in 2015 when Delhi-based art patron Feroze Gujral commissioned a project, My East Is Your West, as a collateral event at the 56th Venice Biennale. Which is why India’s return to the biennale is significant, especially since “the event is an important platform for the best of their artists (of the participating nations), as well as an opportunity to conduct soft diplomacy through culture," noted a recent Guardian article.
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Inside the India Pavilion at Venice Biennale 2019


Source Elle India by Neville Bhandara
It’s been eight years since India last participated at Venice Biennale. But now, a show titled Our Time for a Future Caring—put together by Roobina Karode, director and chief curator of the India Pavilion’s principal partner, Kiran Nadar Museum Of Art, New Delhi—celebrates 150 years of Mahatma Gandhi, and features the works of artists who have had a deep engagement with his beliefs and life through their works.
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jeudi 9 mai 2019

Goa’s Serendipity Arts Festival announces new set of curators

Source The Hindu
The fourth edition of the annual Serendipity Arts Festival, with a vision of energising arts production, awareness and practice across South Asia, has announced the line-up of curators for its annual outreach. The curators include Aneesh Pradhan and Sneha Khanwalkar for music, Leela Samson and Mayuri Upadhyaya for dance, Atul Kumar and Arundhati Nag for theatre, Rahul Akerkar and Prahlad Sukhtankar for culinary arts, Rahaab Allana and Ravi Agarwal for photography; Jyotindra Jain and Sudarshan Shetty for visual arts and Pramod KG for crafts.
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mercredi 8 mai 2019

India’s sophomore debut at the Venice Biennale is a tribute to Mahatma Gandhi


Source Architectural Digest by Uma Nair
At the Press Preview on May 8, the 58th Venice Biennale will have an India Pavilion that will give art aficionados something to savour. “The group presentation, Our Time for a Future Caring will critically engage with the many facets of Mahatma Gandhi, considering his philosophical ideas and their place in today’s complex world, in which violence and intolerance are still prevalent,” says Roobina Karode, Chief Curator at the Kiran Nadar Museum of Art, New Delhi, the Pavilion’s Principal Partner. A significant new partnership has enabled the India Pavilion 2019, spearheaded by the Ministry of Culture and co-organised with the Confederation of Indian Industry (CII) and the National Gallery of Modern Art.
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vendredi 3 mai 2019

The life of the Ganges


Source British Journal of Photography by Marigold Warner
Giulio Di Sturco’s decade-long project Ganga Ma documents the effects of pollution on India’s holiest river. Shot along the banks of India’s largest river, cast in the pink glow of a low sun, Giulio Di Sturco’s images are calming and hazy. In one of them, a worker from Delhi hoses down piles of white foam, so much of it that at first glance the image is rather surreal. But as with all of his photographs, hidden under this dream-like filter is a devastating story, about the effects of climate change and pollution on the country’s holiest river.
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samedi 20 avril 2019

At Art Basel Hong Kong, women show they can paint


Source Livemint by Anindita Ghose
Six Indian galleries were at the fair: Gallery Chemould, Jhaveri Contemporary and Tarq from Mumbai; Vadehra Art Gallery and Gallery Espace from Delhi; and Experimenter from Kolkata. Rather than talking down the cause of representation, Jhaveri’s statement can be seen in a positive light. Everyone from Gorrill to the Guerrilla Girls has warned against the dangers of tokenism. So the fact that the Dodiya work has pride of place because it “brings in a lot of people" is ultimately a bigger victory. And, all these six galleries (one of them is led by a couple) have women on top.
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vendredi 19 avril 2019

Remembering Haku Shah


Source Daily Pioneer by Sujata Prasad
An avant-garde in more ways than one, Shah mainstreamed rural, tribal, folk art and craft by bridging the chasm between elitism and art that has often been relegated to the eponymous category of folk or subaltern tribal expressions. His love for folk artists and artisans evolved as part of a burgeoning movement in the 50s for the creative intersection of craft and design. One of his first assignments was at the Weavers’ Service Centre established by Pupul Jayakar near the Opera House in Mumbai. An astonishing number of artists with different terms of engagement gravitated to the centres and elsewhere — Prabhakar Barwe, Jeram Patel, Jogen Chowdhury, Himmat Shah, Gautam Vaghela, Bhasker Kulkarni, Amrut Patel and Manu Parekh to name but just a few. Also budding scenographers like Rajeev Sethi and Martand Singh. KG Subramanyan came occasionally and created stunning standalone sculptures from the fibres of handspun wool. Haku Shah thrived in this hothouse of creativity. His next assignment, a long stint with the National Institute of Design, was also not an act of artistic hubris, but was driven by the need to research tribal art and crafts, rituals and belief systems that had intrigued him for a long time. In 1978 he was appointed advisor to the Mingei International Museum at San Diego in California .
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jeudi 18 avril 2019

In the Lap of Nature


Source India Today by Rewati Rau
"The tree is where our atma (soul) resides and if we don't take care of it, we'll all perish," says Venkat Raman Singh Shyam, who belongs to the second generation of Pardhan Gond tradition of artists from MP. Now regarded as one of the prominent faces of tribal art in the country, the artist is as passionate about his humble upbringing as he is about mother earth. "I have grown up amongst animals, plants, rivers and birds and come from the same village which Rudyard Kipling has depicted in his Jungle Book. Nature is supreme for us," he says. That explains why Gond art is known to be replete with imageries of nature and folklore, vividly showing the beliefs firmly entrenched in this community.
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This Exhibition At Piramal Museum Of Art Will Let You Experience Art Like Never Before


Source Mumbai Live by Apurva Srivastava
Ashvin Rajagopalan, Director of Piramal Art Foundation, highlighted the importance of interactive exhibitions such as these and said “An interactive art exhibition plays a vital role in creating more art and artists. We believe that when someone enters the space and finds themselves immersed in the possibility of being able to make something or create a work of art, that could ignite a spark, and lead them into wanting to pursue a career in the arts. The purpose of museums is to educate an audience. And hence, we believe that if we have a sustained audience, a community that we build over time, they will gain the knowledge and therefore, the skills required to appreciate art. This will definitely widen the possibilities of how people perceive art in the future.”
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dimanche 14 avril 2019

There isn't, and there needn't be, such a thing as "Indian photography": Nathaniel Gaskell


Source Forbes India by Madhu Kapparath
Nathaniel Gaskell, co-founder and associate director of the Museum of Art & Photography in Bengaluru and Diva Gujral, PhD scholar at the department of History of Art, University College, London have co-authored Photography in India: A Visual History from the 1850s to the Present, the first in-depth survey of the remarkable story of photography in India. Covering 150 years and more than 100 Indian and international photographers, the book contains a wealth of previously unpublished material and lesser-known artistes. In a conversation with Forbes India, Gaskell (33) talks about the various complexities related to photography in India, and the challenges of distilling them into a book.
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mardi 9 avril 2019

Feroze Gujral: India’s very own Peggy Guggenheim?


Source The National by Tania Bhattacharya
Gujral, 54, has been quietly leading the charge when it comes to promoting South Asian art in the Indian subcontinent and globally. Over the past decade, her foundation, co-founded with her architect husband Mohit Gujral (chief executive of DLF India, son of famous painter Satish Gujral and nephew of former Prime Minister of India, Inder Kumar Gujral), has supported innumerable artists irrespective of genre or form. It has also built art-specific spaces such as Studio G Spot and 24, Jor Bagh, and has organised subcontinental exhibitions at the likes of the Berlin Biennale and Tate Modern. The foundation has engaged intimately with India’s bottomless artistic heritage. Gujral is on the Kochi-Muziris Biennale’s board of trustees (she also co-founded the biennale, India’s first), and is on the boards of the ­Guggenheim Museum in New York and Serpentine Gallery in London. She was the force behind the V S Gaitonde: Painting as Process, Painting as Life exhibition at the Guggenheim in New York and My East is Your West, a collaborative show between India’s Shilpa Gupta and Pakistan’s Rashid Rana at the Venice Biennale, both in 2015. Her daughter Alaiia is also an artist who curates for Canvas Chicago. Art runs in the family, and she may well be India’s very own Peggy Guggenheim.
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vendredi 5 avril 2019

One story told 12 times: Magnum photographer Sohrab Hura’s book explores rising violence in India


Source Scroll.In by Chanpreet Khurana
Around 2013, Hura noticed that WhatsApp messages to his parents were becoming increasingly political. As they were sent by family and friends, his parents often took the messages at face value. “There was credibility attached to them...this was before we had realised how political this is – and how entrenched.” The language of the messages prompted Hura to think about the underlying sense of violence in our world. Growing up in India in the 1980s and ’90s, Hura had lived through the assassinations of two Indian prime ministers, some of the bloodiest riots since Partition, cross-border hostilities and regime changes. Yet, something about the diffused aggression in the messages bothered him. He decided to start a new project to explore this feeling further.
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jeudi 28 mars 2019

Death of Haku Shah, eminent Gandhian artist signifies the end of an era


Source National Herald by Girish Shrivastava
With the passing away of the doyen of Indian Art, Haku Shah (1934-21 March 2019) in Ahmedabad at the age of 85, we have lost an eminent Gandhian painter belonging to the Baroda School of Art. He was also a cultural anthropologist and an author of international repute on folk and tribal art and culture. His works are considered in the line of artists who brought themes of folk or tribal art to the mainstream Indian art. In 1968, he curated the ‘Unknown India’ exhibition, organized by Art Critic Stella Kramrisch at the Philadelphia Museum of Art. He received the Rockefeller Grant in the same year and in 1971, the Nehru Fellowship Award. Over the years, he had carried out extensive field research and documentation on rural and tribal crafts, traditions and folklore. He established a tribal museum at Gujarat Vidyapith in Ahmedabad and was a curator here for several years which was to become his last legacy. Veteran artist Manu Parekh in 1963, said, “Haku knew very well about crafts and craftsmen and was in direct touch with the village craftsmen. I don’t know many people who have such deep connections with village craftsmen. In our country especially, we need these kinds of artists.”
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$17,757 nouveau record pour une peinture sur papier de Jangarh Singh Shyam


Une peinture sur papier de Jangarh Singh Shyam 50x65 cm des années 1980 a été vendue ce 29 mars 2019 par la maison de vente indienne Saffronart pour $17,757. Exposée aux Magiciens de la terre (Centre Pompidou 1989), cette œuvre sur papier avait été vendue en 2005 à Paris par Calmels-Coehn pour 800 €, puis en 2010 chez Sotheby's New York pour 3849 €. Ce nouveau record vient après la publication récente de trois livres dédiés à cette figure légendaire de l'art contemporain vernaculaire indien né en 1962 et disparu prématurément en 2001 au Japon.
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Works by major Indian Modernists lead $8m sale of jailed diamond dealer's art collection


Source The Art Newspaper by Kabir Jhala
Leading the sale was an untitled 1973 work by the Indian Modernist VS Gaitonde, which sold for $3.7m, making the work the artist's fourth most expensive sold at auction. A work by Raja Ravi Varma also achieved the artist's second highest record at auction with the sale of an 1881 painting of the Maharaja of Travancore achieving $2.4m via a phone bid. Indeed, a report released earlier this year by ArtTactic says the 2018 South Asian market saw a 39.7% increase in sales of Indian Moderns (alongside a less significant increase in contemporary sales).
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mercredi 27 mars 2019

India auctions fugitive billionaire's art, raises $8 million


Source Reuters by Sai Sachin Ravikumar
Tax authorities who are pursuing Modi in connection with the country’s largest bank fraud appointed auction house Saffronart to carry out the sale of 68 works. The sale will be challenged in court on Wednesday by lawyers for a company controlled by Modi that owns the artwork. Auctioneers say the sale, which was originally expected to raise up to $7.3 million, was the first of its kind in a country where tax authorities have usually auctioned property, gold and luxury items, but not art. “Until a few years ago, the tax authorities really didn’t know the value of art,” said Farah Siddiqui, an art adviser who advised clients eyeing Modi’s collection.
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jeudi 21 mars 2019

Atul Dodiya, GR Iranna, Jitish Kallat in artist lineup to show at Venice Biennale's Indian pavilion


Source Indulge Express by JD Sen
The works of seven modern and contemporary artists, including Nandalal Bose and Atul Dodiya, will figure at the Indian pavilion in its second-ever participation at the prestigious Venice Biennale, which begins in May. The Indian artist lineup at the 58th International Art Exhibition at La Biennale di Venezia (Venice Biennale) also includes Ashim Purkayastha, GR Iranna, Jitish Kallat, Rummana Hussain and Shakuntala Kulkarni, pavilion curator, the Kiran Nadar Museum of Art (KNMA), said in a statement. The pavilion titled 'Our Time for a Future Caring' is themed around Mahatma Gandhi. It will form a part of India's ongoing programme celebrating his 150th birth anniversary.
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One of India’s Most-Wanted Fugitives Is Selling Off His $5 Million Art Collection. See What’s for Sale Here


Source Artnet News by Naomi Rea
The Indian businessman and art collector Nirav Modi, who has been on the lam for his alleged connection to a multi-billion-dollar fraud, was arrested yesterday in London. Meanwhile, the fugitive’s art collection is being auctioned off on behalf of India’s tax recovery office in a bid to recover some of the $2 billion the tycoon is accused of scamming from a state-owned bank. One of India’s most-wanted men, Modi is the number one suspect sought in connection with a $2 billion fraud that rocked the Punjab National Bank last year. Modi was named Indian’s 85th richest man by Forbes in 2017, with the magazine estimating his net wealth at around $1.3 billion. The diamond mogul is known for decking out celebrities including Kate Winslet and Naomi Watts in his designs, which he has said are influenced by great works of art. His art collection, assembled over 20 years, is valued at around $5 million.
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dimanche 17 mars 2019

Lake turns into stage for contemporary theatre in rural Bengal


Source The Telegraph by Manasi Shah
Since 2009, Trimukhi, in association with other organisations, comes up with an annual event, known as the Night of Theatre. Every year, choreographers, intellectuals, farmers from different countries — including Spain, France, Mexico and Japan — congregate in the village of Borotalpada to create, practise and explore contemporary art such as theatre, sound and video installations. When I meet Chevallier at his south Calcutta residence, the 2019 Night of Theatre is still a month away, but he shows me some videos from the previous years.
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samedi 16 mars 2019

At 82, is Arpita Singh ‘the next really big thing’ in Indian art?


Source Christies
Born in West Bengal in 1937, 10 years before the Partition of India, Arpita Singh is now widely considered one of her country’s premier contemporary artists. Her oil paintings and watercolours are renowned for the tantalising stories they tell, often from a female perspective. ‘She’s the standard-bearer for narrative art in India today — a narrative tradition that dates back centuries to miniature painting,’ explains Nishad Avari, Indian art specialist at Christie’s in New York. ‘She’s undoubtedly the standard-bearer for women artists in India, too.’ Now in her eighties, Singh is currently the subject of a major retrospective at the Kiran Nadar Museum of Art in Delhi (until June 30). Her work can also be found in the collections of institutions worldwide, including the V&A in London and Peabody Essex Museum in Salem, Massachusetts.
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The rise of the performance art


Source The Hindu by Shrinkhla Sahai
A crossover genre with multiple influences, performance art continues to be intriguing, strange and full of surprises as it increasingly occupies more space in the arts arena in the country. Often immersive, amusing and rooted in radical acts, performance art is still considered relatively nascent in the Indian contemporary art scene. It eludes definition and sometimes baffles the public, leaving them wondering about what can really be called art. It also indicates the changing relationship between the spectator and artist into a participative and interactive one, going beyond gallery spaces and seeking new venues.
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There's an art museum at the Mumbai airport; have you missed it?


Source The Economic Times by Vindu Goel
Mukeeta Jhaveri, who lives in Mumbai and advises companies and private collectors on art purchases and cultural philanthropy, said that the airport’s collection stood out among both India’s museums and other public art installations at airports around the world. "Even when I am rushing through the corridors, there is such a wonderful sense of both discovery and also that of meeting familiar friends.” About 25 percent of the passengers that pass through the airport are blue-collar workers travelling to and from jobs in the Middle East, and the museum very deliberately sought to include Indian crafts along with contemporary fine art.
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jeudi 14 mars 2019

Sheela Gowda Wins 2019 Maria Lassnig Prize


Source Art News by Annie Armstrong
Sheela Gowda has been awarded the 2019 Maria Lassnig Prize, which is given biennially by the Maria Lassnig Foundation. Gowda is the second artist to be granted this prize, which comes with €50,000 (about $56,300) as well as a solo exhibition at an affiliated institution, which for Gowda will be the Lenbachhaus museum in Munich, Germany. The prize, which is awarded to a mid-career artist, was conceived by Lassnig just before her death in 2014.
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