mercredi 25 janvier 2023

In memoriam: Balkrishna V Doshi (1927 – 2023)

Source Wall Paper by Ellie Stathaki
A glance at the dates and it's clear that Balkrishna V Doshi and modern Indian architecture grew side by side. A student at the JJ School of Art in Mumbai when India celebrated its independence in 1947, the architect's career runs alongside the creation of some of the country's most iconic contemporary architecture. From his involvement in the Chandigarh project and India's famous Le Corbusier and Louis Kahn heritage, through to its finest architecture education institution – he designed and founded the School of Architecture and Planning in Ahmedabad in 1962 – Dr Balkrishna Vithaldas Doshi has been an omnipresent figure for a remarkable period of India's built environment.
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Institution-Building in the Global South: Roobina Karode of the Kiran Nadar Museum of Art in New Delhi

Source Art in America by Mira Dayal
When the Kiran Nadar Museum opened in 2010, we had a three-pronged approach: build a collection, build a museum, and build an audience. We didn’t have a real museum space yet, but we still had to create the museum, so we worked hard on forming an audience base and expanding the collection. At that time, there were just over 200 works in the collection; we’ve now crossed the 10,000 mark. That includes photographs, drawings, prints, and installations dating from the 1950s onward. Not having a specifically designed building had its positive side, because we were not confined to the museum; we organized exhibitions in Chandigarh, Jaipur, Kerala. I often draw concentric circles: We are located here, but we have to move from the museum to the city, from this city to another city, then to the nation and outside the country. But finally, we were able to find land for a building that Adjaye Associates is now designing. It will be an art and culture center with eight galleries as well as auditoriums, ideation rooms, a library, and a restaurant. We will be able to bring out a lot of the collection, rotated annually.
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vendredi 13 janvier 2023

Mumbai's commercial art scene undergoes major 'post-pandemic' expansion

Source The Art News Paper by Kabir Jhala
In what is being presented as a sure sign of India's flourishing art market, Mumbai Gallery Weekend (MGW) is currently holding its largest edition yet (until 15 January), with 32 participants—its first regular event since 2020. Since then, the financial capital's gallery landscape has seen significant shifts as India's leading dealers have rolled out expansion and relocation plans in the city. The first such instance was in March 2022, when Mumbai's oldest contemporary art gallery Chemould Prescott Road launched an extension programme supporting young and emerging artists. Chemould CoLab, named in part for its location in the southern gallery hub neighbourhood of Colaba, is co-directed by Sunaina Rajan and Atyaan Jungalwala, the daughter of Chemould Prescott Road's owner Shireen Gandhy.
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8 must-see shows at the ongoing Mumbai Gallery Weekend 2023

Source Archirectural Digest by Shaikh Ayaz
Whatever your thoughts on Maximum City's cultural life, the Mumbai Gallery Weekend 2023 (MGW) is here to enliven it. More than 30 leading galleries have banded together this year for exhibitions and special events including pop-up shows and dance performances sprawled across different sites around the city (though still in close proximity to each other). This ongoing four-day extravaganza (on until 15 January) offers a tantalizing window into Mumbai's art scene where creative conversation, above all else, connects enthusiasts, students, artists, collectors and gallerists with members of the public. Art is for everyone and MGW, currently in its 11th year, embodies that utilitarian philosophy, giving visitors a platform to engage in a thoughtful dialogue with history, politics, culture, craftsmanship and global trends in visual arts. As Mortimer Chatterjee, director, Chatterjee & Lal gallery, puts it: "This is a time when all the galleries come together as a community and celebrate modern and contemporary art. It's like a festival."
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mercredi 4 janvier 2023

Here's what to expect from the India Art Fair 2023

Source Artchitectural Digest by Gautami Reddy
As we continue to stay true to our mission of bringing the best of modern and cutting-edge contemporary art from India and South Asia, all in one place, in this edition we pool together our collective learnings from the last few years. Making space for traditional art forms of South Asia, the fair facade will be transformed into a “Forest of the Future” by a talented Warli artist duo, the Vayeda Brothers, who bring a contemporary outlook to the ancient art form from Maharashtra. Our other Artists in Residence — Debashish Paul and Lakshmi Madhavan — will present exciting projects. While Paul will unfold his queer identity in a performance art piece, Madhavan’s community-driven art practice will shine through in her installation of bright white-and-gold kasavu textiles made in collaboration with the fast-disappearing community of weavers of Balarampuram in Kerala. I am particularly excited about some of our art projects. My favourites include Parag Tandel’s thought-provoking sculptural installation in which he recreates the seven small islands that made up Mumbai before it grew into a mega metropolis; a surreal eight-foot-tall, twisted fibreglass scale by Shivani Agarwal inviting audiences to measure the intangible, such as emotions of love, joy, intimacy, and truth; and a monumental sculpture resembling a pelvic bone by Prashant Pandey, which references the marvellous moment of the birth of life — all of which will be spread across the warm winter outdoors of the fair.
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lundi 2 janvier 2023

Meet the Vayeda Brothers—artists and storytellers taking the beauty of Warli to the world

Source Architectural Digest by Gautami Reddy
"Warli is not just an art form; we are a people,” assert the young artist and sibling duo Mayur and Tushar Vayeda who are here to prove a point. Hailing from the village of Ganjad in rural Maharashtra, the duo—better known as the Vayeda Brothers—have been passionately chronicling their memories and observations of community life in their art. “We want to act as a bridge between the ancient and modern worlds by translating the wisdom and knowledge passed down from our ancestors into a language that can be understood by all,” explain the duo who see themselves as not just artists but also researchers, storykeepers, and educators. Today, the Vayeda Brothers firmly believe: “Warli is our responsibility.” They are infusing a new dynamism by showcasing at international exhibitions and residencies, creating ambitious illustrated book projects and marking their presence in monumental murals all over the world—including a larger-thanlife seascape that was unveiled at Sassoon Docks for the Mumbai Urban Arts Festival in December 2022 and the facade of India Art Fair in New Delhi, which will be transformed into a “Forest of the Future” in February 2023. With all this and more, the Vayeda Brothers are rising to the occasion by breaking the boundaries between folk and contemporary art.
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dimanche 1 janvier 2023

Meet the greatest modernists of the Indian folk art

Source Architectural Design by Gautami Reddy
There is no one story of Indian folk art. Be it the canvas-filling geometric shapes of ancient Warli art from Maharashtra, the dizzying dashes and dots of Gond and Bhil art from central India, or the playful yet precise paintings of Madhubani and Kalighat art from the east, each form has its own deep history and vocabulary, despite the many interactions and interconnections. In the last century, industrial paper has replaced mud walls and floors as the main canvas, and the sacred philosophies behind many of the folk traditions have become absorbed into the grand narrative of the country’s race to modernize. Many of the self-taught artists, outsiders to urban art markets, have been compelled to take to daily-wage labour. However, a few have stood the test of time — sometimes by chance and sometimes through sheer will—radically opposing reigning ideas of industrial progress and art market trends, and inspiring younger generations of artists today. Here, we celebrate the greatest modernists of Indian folk art.
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mardi 20 septembre 2022

What I Buy and Why: Collector Kiran Nadar on Championing Indian Artists on the Global Stage

Source Artnet News by Eileen Kinsella
Kiran Nadar has become a central force in India’s cultural landscape. In 2010, she founded the private nonprofit Kiran Nadar Museum of Art to house her collection of more than 8,000 works of Modern and contemporary Indian art. With branches in both Delhi and Noida, Nadar sees the museum as a way to ensure wide accessibility to the collection and foster a museum-going culture among younger Indians. Beyond India, Nadar has forged collaborations on a global scale with the Metropolitan Museum of Art, Tate Modern, Centre Pompidou, Musee Guimet, the India Pavilion at the Venice Biennale, the Reina Sofia, and the Sharjah Foundation. She has supported Indian artists including Jayshree Chakravarty, Nasreen Mohamedi, Nalini Malani, and Bhupen Kkakhar. When she’s not promoting the arts at home and abroad, Nadar also happens to be an internationally renowned bridge player. We caught up with Nadar at her home in Delhi, where she lives with her husband, Shiv Nadar.
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vendredi 19 août 2022

India at 75 | Timeline: Art

Source Frontline The Hindu by Anupama Katakam

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jeudi 14 juillet 2022

Bangalore’s Newest Museum, Home to a 60,000-Object Collection of South Asian Visual Culture, Will Open in December

Source Artnews by Vittoria Benzine
Abhishek Poddar donated foundational works for MAP’s collection, which now tops 60,000 works following further contributions from the Deepak Puri Collection, the private collection of Rahul Sabhnani, and original commissions. Altogether, the collection bridge historical periods and creative approaches from painting and sculpture to textiles, tribal art, and memorabilia from India’s globally renowned Bollywood Industry. The variety “deliberately blurs the boundaries between what is regarded as high art and the everyday creativity of the region’s communities,” the museum said. “The photography collection is one of the most extensive in India with a particular focus on the period from the mid-19th century, a turning point in the history of Britain’s colonial relationship with the region, right up to the present day,” the museum added.
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mardi 14 juin 2022

Anju Dodiya’s new London exhibition brings together her pandemic-inspired body of work

Souce Artchitectural Digest India by Uma nair
In the heart of London’s Mayfair, on the ground floor of Frieze’s space at No. 9 Cork Street, the Vadehra Art Gallery unveils Anju Dodiya’s solo with the enigmatic title “Anatomy of a Flame”. Londoners are savouring her painted mattresses, watercolours along with photo-collage works painted during the pandemic. Running from 1 June to 18 June, it cements her place as an artist of depth as she creates in the oyster of her own solitude. Currently in London, Dodiya talks to AD India about her show.
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Art Basel 2022: Everything you need to know about the 3 Indian galleries showing at the fair

Source Vogue India by Avantika Shankar
The art world is set to convene in Switzerland this week as Art Basel 2022 restores the fair's scale to its pre-pandemic glory. Indian contemporary art makes a bold appearance, brought to the fore by Kolkata’s Experimenter gallery, New Delhi’s Vadehra Art and Mumbai’s Chemould Prescott Road. Through photography, sculpture and experimental mixed-media works, the artworks offer a glimpse into the extensive range of diverse cultural experiences that populate the Indian landscape today.
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vendredi 27 mai 2022

Pushpa Kumari is one of India’s foremost contemporary traditional artists

Source Biennale of Sydney 2022
Pushpa Kumari is one of India’s foremost contemporary traditional artists and divides her time between Delhi and her ancestral village of Ranti. Her artistic roots are deep within the Mithila/Madhubani folk art tradition, and she learned this art as a young child from her grandmother, the renowned artist Mahasundari Devi. Mithila or Madhubani art is one of India’s most popular folk art genres from the Indian state of Bihar. Kumari incorporates in her art the stylistic devices and signature elements of Madhubani art. She imbues her works with strong personal statements and compelling pre-occupations. They are often concerned with women’s issues and the immense ecological challenges facing humankind in the twenty-first century. Kumari both strengthens and subverts the tradition, using it as a medium for her message which can be both overt and subtle, lending a beguiling charm to her intricate black and white and colourful drawings.
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Brush of freedom: Editorial on culture of vigilantism in arts

Source The Telegraph by The Editorial Board
Art for art’s sake — the idea that art needs no justification and need not serve a political, didactic or economic purpose — is a principle that must be re-examined. There is the longstanding argument that for the market of art and, indeed, artists to prosper, their works should stay aloof from addressing difficult — political — questions. That art, in other words, should serve as a means of escaping reality to remain profitable. This may not be the case always. For instance, the 2022 edition of the India Art Fair brought together young artists who boldly tackled, in a myriad media, questions related to politics, gender and sexuality, caste, class, mental health, the climate crisis and so on and, yet, managed to achieve commercial success. The fair broke records with galleries selling works across price points — the sign of a thriving and lucrative art scene. Hearteningly, the artworks were also representative of diversity: they came from the interior corners of India, spanning Santiniketan in West Bengal to Vadodara in Gujarat to international cities such as Sydney, Brasília, New York, and London and were bought by patrons across the world.
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vendredi 20 mai 2022

‘The Project of Independence’ at MoMA spotlight South Asia's modernist structures post-independence

Source Vogue India by Sadaf Shaikh
How does a country reclaim its identity after being colonised for close to two centuries? For India, as well as other emancipated South Asian nations that won independence from the British Raj between 1947 and 1971, the principal solution lay in reinventing the infrastructure, a stark reminder of the hegemonic institutions that had ruled them with an iron fist for so long. The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985, an assiduously curated collection of about 200 archival and commissioned works by the Museum of Modern Art (MoMA) in New York, spotlights the firm mood of nation-building that gripped the countries emerging from a protracted imperialist regime.
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In the Studio With Mahesh Baliga

Source Ocula by Cleo Roberts-Komireddi
Mahesh Baliga's small-scale paintings in casein tempera are like pages from a story book. In vivid colour, Baliga renders scenes from his surroundings in Vadodara, India, transforming otherwise overlooked details into visual poetry. On the occasion of his first solo exhibition outside of India, Drawn to remember at David Zwirner in London, the artist—whose work was also recently presented by Project 88 at India Art Fair—shares how he arrived at his unique style.. "The initial starting point of any work is the pain. It starts with the self and what I've seen. Looking at those lights, I know that that building is incomplete. I know that so many people around it have lost their jobs. There's an undercurrent. It's like Satyajit Ray's films, there is so much sadness but they're entertaining... I'm working in a similar way."
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mercredi 18 mai 2022

The Kochi-Muziris Biennale launches new award to boost opportunities for younger artists

Source Architectural Digest India by Shaikh Ayaz
In a step that Bose Krishnamachari, President, Kochi Biennale Foundation and Biennale director, Kochi-Muziris Biennale, proudly calls yet another "feather in our cap," the Kochi-Muziris Biennale (KMB) 2022-23 has just announced a unique tie-up with the Durjoy Bangladesh Foundation (DBF) and London's Hayward Gallery to institute an award for up-and-coming South Asian artists. The first recipient of the multi-year DBF-KMB award will be chosen from an array of emerging artists of South Asian descent participating in the fifth edition of the Kochi-Muziris Biennale, and will be announced shortly after the official opening on 12 December later this year in Kochi, Kerala. Subsequently, the awardee will be invited by the Hayward Gallery to exhibit their first institutional solo show at its HENI Project Space in London’s Southbank Centre.
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dimanche 15 mai 2022

Madhubani in Manhattan

Source The New Indian Express by Tanisha Saxena
at the bus shelter on Manhattan’s 86 street, right between the Broadway and West End Avenue, is exhibited a unique and unexpected work of art. Unexpected because it is not a work by a celebrated impressionist or an avant-garde contemporary artist as one would expect it to be in the heart of New York City. Instead, it is the work of Pushpa Kumari, a third-generation Madhubani artist from a small town in Bihar. Titled ‘Joy of Living’, the painting is a nuanced representation of hope, particularly in light of the last two years that were taken over by the fear of the pandemic. Kumari’s work is being exhibited as part of Global Positioning, an art show by the Public Art Fund, a non-profit in the United States of America. Madhubani or Mithila is an age-old Indian art form. Often characterised by complex geometrical patterns, these paintings have traditionally been depictions of religious rituals. But Kumari uses the intricacy of this timeless folk art to address issues of the current times. read more

samedi 14 mai 2022

'Painted villages' Reviving Hazaribagh's traditional tribal art resembling ancient cave paintings

Source News9Live by Hiren Kumar Bose
This art was fading away until a chance finding of a similar ancient cave painting. Now the art not only has international recognition, but is being documented and fused with modern design thanks to art conservators Justin and Alka Imam. Searching for the lost art and its artists Accompanying his father to rock shelter sites and helping him in his research on Hazaribagh's folk arts, Justin Imam naturally got interested in heritage. Justin and Alka Imam took it upon themselves to revive the prehistoric Khovar and Sohrai arts (Photo credit: Justin Imam) As there were only a few women continuing the Khovar and Sohrai painting tradition, Justin decided to help them revive the art. When he got married, his wife Alka too joined him. "In the early years we'd load our car with earth colours and scour the villages to identify women still practising the arts. We'd gift them the colours and motivate them to keep their art alive," Alka Imam told Village Square.
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jeudi 5 mai 2022

India Art Fair 2022: In Photos

Source Ocula
Taking place annually in India's capital, New Delhi, view highlights of India Art Fair's 13th edition of modern and contemporary art from South Asia.
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mardi 3 mai 2022

Venice Post-Mortem: Reflections on The Milk of Dreams*

Source Ocula by Stephanie Bailey
There are too many great artists and works to name. Like masters Safia Farhat, Ibrahim El-Salahi, Mrinalini Mukherjee, Pinaree Sanpitak, and Tishan Hsu.Or young guns Carolyn Lazard, Sandra Mujinga, Hannah Levy, and Elisa Giardina Papa, whose 2022 video installation "U Scantu": A Disorderly Tale, turns the Sicilian myth of hybrid women into a Mad-Max revenge fantasy where girls on bikes rule.
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lundi 2 mai 2022

Despite a Heat Wave, Crowds Returned in Full Force to the India Art Fair and Collectors Bought Up Work Quickly

Source Artnet News by Skye Arundhati Thomas
“Watch out, it can be addictive,” states the opening paragraph of How to buy your first piece at India Art Fair, an online guide for new collectors. And on the fair’s opening day last week, eager art buyers showed just how much of a compulsion collecting can be, arriving in force despite record temperatures in New Delhi and a new wave of the pandemic looming. During the VIP preview on Thursday, rows of orderly, plush cars patiently waited to reach the fair entrance and the white tents were packed with crowds.
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dimanche 1 mai 2022

‘A turning point’: Indian art fair challenges gender and sexual stereotypes

Source The Guardian by Hannah Ellis-Petersen
Even through the haze of shimmering heat and thick Delhi dust, the mural is impossible to miss. Pinks, blues, greens and yellows pop off the wall, coming together to form a utopian scene of equality, and splashed across the middle is emblazoned a slogan designed to challenge India’s male-dominated society. “The future is femme,” it declares. The artwork stands at the entrance of this year’s India art fair, the country’s largest event showcasing Indian artists and galleries, which opens in Delhi this weekend after a two-year hiatus due to the pandemic. For the first time, this year’s art fair is showcasing rare items of Indian folk art, some dating back 100 years, illustrating changing perceptions towards older indigenous art within the Indian market, which has always been focused on the modern and contemporary. Among the works on show are a series of bronze mukhalingam sculptures, a representation of the Hindu god Shiva, which have never been seen in public before. “Our folk culture has been much more popular overseas in the last four decades than it has on the Indian domestic market,” said Amit Jain, who curated the folk art booths at this year’s fair. “I’m used to this art and these artists being seen as on the peripheries so it’s amazing to see India’s full history brought into this contemporary space. It’s high time that museums in India look at art laterally and not compartmentalised into modern and folk.”
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samedi 30 avril 2022

India Art Fair 2022: Artist Atul Dodiya talks about his exhibits

Source Fistpost by Noor Anand Chawla
Atul Dodiya is an Indian artist of significant renown, having carved a well-earned space for himself in the cluttered contemporary art scene. He is best known for his paintings depicting middle-class Indian life and for his watercolour and oil series on Mahatma Gandhi. Currently, he is making waves at the India Art Fair (IAF) 2022 with his solo show at the Kiran Nadar Museum of Art (KNMA) titled Walking with the Waves – a subtle departure from his previous works – and artworks displayed at the group show in the Vadehra Art Gallery booth. The solo show is a selection from over 365 intimate works that he painted during the year-long period of frequent lockdowns due to consecutive waves of Covid-19. This mammoth project was his attempt at preserving his own sanity and artistic composure, by dwelling on the concept of solitude. Additionally, he is set to be the first Indian artist to be part of the prestigious BMW Art Talk at the IAF, set to take place on Saturday, April 30, where he will converse with his long-time friend and gallerist, Shireen Gandhy of Chemould Prescott Road gallery on his interesting journey as an artist. He joins Firstpost for a quick chat about the IAF and his work.
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India Art Fair: Advisory Selections

Source Ocula by Annabel Downes
Extensive programming as well as a digital platform make the latest edition of the India Art Fair an exciting destination for South Asian art. Fair director Jaya Asokan calls it a 'testiment to the resilience of the Indian and South Asian art market'. Looking at offerings by galleries including Experimenter, Chatterjee & Lal, and Chemould Prescott Road, such a statement rings true. We select our favourites from the mix.
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