CONTEMPORARY ONE WORD SEVERAL WORLDS

vendredi 24 juillet 2020

Mrinalini Mukherjee: Force(s) of Nature


Source Ocula by Stephanie Bailey
Bagh, which translates to garden, is a fitting title for Jhaveri Contemporary's current exhibition of works by Mrinalini Mukherjee (29 February–31 July 2020). It was in the garden towns of her youth where Mukherjee developed a deep and enduring relationship with nature that charged her practice. The exhibition marks the first time Mukherjee's early etchings and late bronze sculptures have been shown in conversation. The etchings were created in the 1970s and 80s at the Garhi studios in New Delhi and shown for the first time at the 2018 Kochi-Muziris Biennale. They depict vibrant woodland scenes that reflect the artist's formative years growing up between the foothills of the Himalayas in Northern India, and Santiniketan in West Bengal, where Mukherjee's father, the renowned artist Benode Behari Mukherjee, taught at poet Rabindranath Tagore's experimental art school Kala Bhavan, which celebrated nature and folk traditions in its independent curriculum.
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jeudi 16 juillet 2020

in Touch


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mardi 14 juillet 2020

The house of art, the story of a gallery and an art revolution


Source The Telegraph by Ruchir Joshi
Often an important transformative moment in a city’s history becomes identified with a neighbourhood or even a house. While Colaba is not Montmartre, Bandra is not Bloomsbury and Kekee Manzil not quite Jorasanko, the mansion on the Bandra seafront was a hugely important site in the development of modern Indian art. Behroze Gandhy’s eponymous film, Kekee Manzil: The House of Art, is a documentary about her parents, Khorshed and Kekoo Gandhy, who played such a central role in launching the art scene in Bombay between the 1940s and 1960s. Part decade-traversing home-movie, part archive footage buffet, part Films Division homage (complete with constant Voice of God commentary and wall-to-wall background music, including a tabla riff exactly at the mention of a riot), the film offers many riches. If you are at all interested in modern Indian art, or in our country’s recent urban cultural history, or in the city once known as Bombay, or in the story of contemporary Parsis, or in interior decoration, or in the changing texture of the moving image over the last seventy years, then you shouldn’t be able to take your eyes away for any of the film’s 90-minute running length.
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samedi 11 juillet 2020

Woodson Art Museum exhibit features artwork of India


Source Woodson Art Museum
Spice up summertime by experiencing contemporary artwork of “Many Vision, Many Versions: Art from Indigenous Communities in India.” This exhibition, featuring dazzling patterns, vibrant colors and nonlinear storytelling, is on view at the Leigh Yawkey Woodson Art Musuem through Aug. 30. Learn about life and culture in India through artworks from central India’s Gond and Warli communities, the Mithila region of Bihar and the narrative scroll painters of West Bengal. These distinct and imaginative Indian cultures are united by a common love of narrative as a source of meaning in daily life. The resulting artwork is imbued with tradition, yet dynamically responsive to contemporary global issues. The exhibition features more than 40 paintings and drawings by 24 artists, including Jangarh Singh Shyam, Jivya Soma Mashe, Sita Devi and Swarna Chitrakar.
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mercredi 8 juillet 2020

Publication of the book "Richard Long - India"


Publication of the book "Richard Long - India" work in progress photos Hervé Perdriolle. This book is one of the rare photographic testimonies allowing us to discover Richard Long's works in progress inspired by his first trip to India. More information and online order:
> herve-perdriolle-editeur.org

mardi 23 juin 2020

Art Basel 2020: The pandemic triggers a virtual shift in art

Source Livemint by Avantika Bhuyan
With a new online-only exhibit for Art Basel, gallerist David Zwirner stresses the need for the art ecosystem to embrace technology - During my 27-year-long career, I have seen that when new regions enter the art market, such as South America, China, Japan and now India, the emphasis in the early years is on local artists—artists from the country that you know and art which reflects the traditions you are familiar with. It is only after you start exchanging information with an international group of collectors that you open your eyes to visual traditions from other countries. One such genre is that of contemporary art from Europe and the US, which we are now bringing to India. This is just the beginning and the dialogue with international art in the country is still in its early years.
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mercredi 17 juin 2020

Swadesi's 'The Warli Revolt' goes viral on TikTok and WhatsApp


Source RadioandMusic by RnMTeam
Mumbai-based multilingual hip-hop crew Swadesi 's seminal single, The Warli Revolt, has been found going viral courtesy TikTok and WhatsApp statuses. The anthemic single that became a rallying cry for the Save Aarey movement proved to be a career defining moment for the crew who quickly found themselves becoming the voice of socially conscious hip hop in the country. Over the last month, the track has seen a resurgence amongst folks with a clip of Swadesi's live performance of the same at the 2019 edition of India’s largest crowdfunded music festival Control ALT Delete going viral over WhatsApp statuses and TikTok. Swadesi has amassed well over amillion organic views on user generated content and over 500K on the original track itself.
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Adivasi revolt that ushered in change for all

Source Frontline
For the region, 1945-46 must have been a heady time. After almost a century of injustices, there was unity, leadership and personal freedoms; it must have felt like a new dawn in the lives of the Adivasis. The Parulekars, the Kisan Sabha and the Adivasis kept up the tempo. The Warli Adivasi Revolt started out as a fight against bonded labour and lagnagadi and went on to become a fight for wages for work, land ownership and forest rights. What began as a movement to liberate Adivasis blossomed into a fight for basic democratic rights and laws for the general population. In 1948-49, the Maharashtra government was forced to enact the first tenancy legislation in the State. Since the law came about because of the Adivasi struggle for ownership of land, it was only appropriate that it was first implemented in three tehsils of Thane district. The Tenancy Act was soon implemented all over the State. This was followed by legislation that prohibited Adivasi land from being sold to a non-Adivasi person. In 1960, Godutai led the first ever morcha (march) in India demanding forest land in the name of Adivasis; 46 years later, in 2006, the Forest Rights Act was enacted.
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mercredi 10 juin 2020

Success for the sale of a small drawing by Jangarh Singh Shyam


A drawing by Jangarh Singh Shyam of 1994 9x6.5 in - 22.9x16.5 cm sold on June 9, 2020 at Saffronart for the sum of $4,087 (incl of Buyer's Premium) setting a new record (concerning a work of this format) for this legendary contemporary Indian tribal artist, present at the Magiciens de la terre (Centre Pompidou 1989) and to which three major books have been dedicated in recent years.
> see auction results
> see Jangarh Singh Shyam available works

mardi 9 juin 2020

Waiting to make your first big post-lockdown purchase? Acquire a stunning Souza


Source Architectural Digest by Nolan Lewis
While economists are still evaluating the impact of the global meltdown caused by the Coronavirus pandemic and the mercurial volatility in international prices, every wise investor knows that even the darkest economic recessions come with a silver lining—they can be profitable phases to invest in real estate or buy that work of art you’ve been eyeing forever. “Although the global lockdown has been a pandemic to numerous situations and on a number of levels, I have noticed that in terms of fine art purchases, the market has actually increased and become more robust, especially in terms of online sales. While this doesn’t necessarily apply to the prices of each individual work, this does apply to the volume of sales, which I have noticed have increased and are quite fantastic! Especially in online sales,” notes Francis Patrick Souza, the son of expressionist painter F.N. Souza and Founder of the F.N. Souza International Fine Arts Foundation & Family Trust Inc.
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jeudi 4 juin 2020

IN TOUCH

IN TOUCH, a digital exhibitions platform created in collaboration between galleries, presents it's second iteration live from today until July 5th at www.artintouch.in. The participating galleries of In Touch Edition 2 are: Chemould Prescott Road, Bombay; Experimenter, Kolkata; Galerie Mirchandani + Steinruecke, Mumbai; Gallery Espace, Delhi; GALLERYSKE, Bangalore/ Delhi; Green Art Gallery, Dubai; Grey Noise, Dubai; Nature Morte, Delhi; PHOTOINK, Delhi; Sakshi Gallery, Mumbai; The Third Line, Dubai; and Vadehra Art Gallery, Delhi. The In Touch platform will additionally host collateral online programming including gallerist connects and artist talks conducted digitally.
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lundi 11 mai 2020

NON-FICTION: THE FORGOTTEN INDIAN ARTISTS


Source Dawn by Nageen Shaikh
The British did not colonise the Indian Subcontinent only for spices and land. In fact, they were quite deeply enamoured of the indigenous flora and fauna of this diversely populated part of South Asia. In the late 1700s, British patrons of the East India Company hired many local Indian artists to create albums and folios with intricately detailed and polished paintings and drawings of India’s native bounty — the natural world of plants, animals and birds. These works were collectively termed ‘Company Painting’. However, the degradation of traditional Indian painting, because of the arrival of colonial forms of education and the dawn of photography, overshadowed these original works, driving them well into obscurity. The book Forgotten Masters: Indian Painting for the East India Company accompanies the art exhibition of the same name at The Wallace Collection, a museum in London. As the exhibit jolts our fascination by bringing these obscure Indian masterpieces to public view, the catalogue is refreshingly complete with an introduction by the exhibition’s guest curator and historian William Dalrymple.
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mercredi 6 mai 2020

Zarina Hashmi, Artist of a World in Search of Home, Dies at 82


Source The New York Times by Holland Cotter
In recent years the political scope of Ms. Hashmi’s work has sharpened, in prints that refer to anti-Muslim violence and the plight of persecuted refugees. Even then, in its scale and reflective mood, her art remains as personal and intimate as a diary. Regret colors the narrative. (“Nobody is left in our house at Aligarh. Rani is gone. My parents are gone. Home has become another foreign place.”) But something like serenity settled in. “I have had people come to my show and start to cry,” Ms. Hashmi said in her interview with the Met. “I always ask them why, and usually they say, ‘That is our story also.’ A lot of them were people who were exiles from their own country: Holocaust survivors, or people who had the desire to return home. I realize that if you tell your story and if someone can come and cry on your shoulder, that is sharing.”
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vendredi 1 mai 2020

Art in the time of COVID: 10 galleries from India and Dubai come together for a one-of-a-kind digital exhibition


Source Architectural Digest by Kriti Saraswat-Satpathy
Even in the grimmest of times, art has the power to uplift, bring about a change and influence. Take this COVID-19 quarantine time for instance, with art talks, conferences, exhibitions and auctions being suspended. But creativity cannot be contained, and as a response to this pandemic, a new-age, futuristic digital platform has emerged called ‘In Touch’ that will bring together a diverse range of programmes, exhibitions and artists from various galleries. For its first edition, 10 galleries from India and Dubai will be showcasing works of artists that hold relevance in this unique time. We give you a preview of this unique, innovative digital exhibition.
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Artist Dhruvi Acharya’s watercolours, which are up for sale, are helping tide over this crisis


Source Architectural Digest by Ritupriya Basu
“I paint because I almost have to, for my peace of mind,” says artist Dhruvi Acharya, when quizzed about her relationship with art. Painting, for Acharya, is a process that is equally cathartic and meditative, a telling aspect of her practice that reflects in her elaborate, psychologically complex drawings. Ever since India went under a nation-wide lockdown to battle the Coronavirus pandemic, Acharya started painting, almost compulsively, to help untangle her thoughts and take stock of her emotions.
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IN SCULPTURES AND PRINTS, MRINALINI MUKHERJEE CAPTURED THE WILDNESS OF NATURE


Source Art in America by Skye Arundhati Thomas
Born in Mumbai in 1949, two years after Indian Independence, Mrinalini Mukherjee, who died in 2015, belonged to a generation of artists emerging in the 1960s who attempted to decolonize the young nation’s visual arts. Primarily a fiber-based sculptor, she used materials indigenous to South Asia, like hemp, jute, cotton, wool, and sisal, updating Indian craft techniques to develop a unique hybrid language that combined the traditional and the modern. She frequently modeled her sculptures on flora but—as Nilima Sheikh recalls in the catalogue for the artist’s 2015 retrospective at the National Gallery of Modern Art in New Delhi—had no interest in “pretty English landscapes.” Instead, her inspirations tended to be wild and tropical: spiky date palms and lush mango groves, bougainvillea and plantain trees.
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mercredi 29 avril 2020

Zarina Hashmi (1937-2020): An artist whose work is woven with ideas of displacement and mobility


Source Scroll'in by Zehra Jumabhoy
Ideas of displacement and mobility are woven throughout her oeuvre. The subject of home is key: Father’s House 1898-1994 (1994) is a print depicting the floor plan of her childhood home. In Homes I Made/A Life in Nine Lines (1997) a set of nine spare, shadowy prints represent the homes Zarina occupied during her adult life. Homes I Made (1984-’92) is a collection of minute aluminium and terracotta houses, fitted with wheels. Most famous of all is Home is A Foreign Place (1999) a suite of 36 woodblock prints, which includes a miniature floor plan of her Aligarh home; a vertical line and a horizontal one; black triangles; cream squares and crosses. Most of these fragile forms are accompanied by Urdu words for “journey,” “border,” “road,” and “time”. Home is a shifting concept in these works – as it was in her life.
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lundi 27 avril 2020

Internationally celebrated artist Zarina Hashmi passes away


Source The Daily Star by Zahangir Alom
The enigmatic lines took innumerable forms in Zarina Hashmi's works – at times they appeared as political borders, on other occasions, they exemplified her interest in architecture. They were jagged veins that denoted vague and distinct memories that the artist gathered from experiences and interactions with people and places across the world. Zarina Hashmi lived in numerous cities, from Aligarh to Bangkok, Paris, New York and London, and in every place, she sought to create a home. She passed away in London, at 83, after a prolonged illness. Contemporary Indian poet, art critic, cultural theorist and independent curator Ranjit Hoskote made the announcement about the death of the celebrated Indian-born American artist on Twitter, on April 26.
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samedi 25 avril 2020

Mortimer Chatterjee and Tara Lal on pushing the boundaries of contemporary art


Source Elle India by Krutika Behrawala
While Instagram helps with the outreach, it’s made their job as gallerists more challenging too. “There’s an assumption that once you’ve scrolled through the exhibition online, you don’t need to make the effort to visit a gallery…” he rues. Lal interjects, “That’s a disadvantage because then, you can never know the impact of an artwork.” Their unfettered spirit and diverse choices reflect in the gallery’s curatorial calendar, which is increasingly seeing exhibitions related to historical material. Their recent exhibitions have shone the spotlight on lesser-known artists such as Riten Mozumdar and Rustom Siodia. “The Indian art scene has been so focused on five-six names that it has missed out on a rich history. We enjoy teasing out these forgotten stories and hope to keep doing so,” says Chatterjee.
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vendredi 10 avril 2020

Overlooked No More: F.N. Souza, India’s Anti-Establishment Artist


Source The New York Times by William Grimes
His art would find new admirers. Tate Britain, as part of the 2018 exhibition “All Too Human: Bacon, Freud, and a Century of Painting Life,” set aside an entire room showcasing 10 of his works. Later that year, the Asia Society in New York included several of Souza’s works in “The Progressive Revolution: Modern Art for a New India,” a show devoted to the Progressive Artists’ Group, and a stirring reminder of Souza’s headlong charge into the future. “We were bold and full of fire,” Souza told The Times of India in 1989. “We were forging a modern Indian art with a blast!”
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Carpe Arte encourages you to support Indian contemporary art by engaging with it.


Source Carpe Arte
Carpe Arte is a play on the Latin ‘Carpe Diem’ and encourages you to Seize the Art. An art enthusiasts organization, We aim to build a community that supports Indian contemporary art by engaging with it and making it more accessible through talks, gallery walk-throughs, workshops, VIP previews, visits to private collections and visits to artists studios. Art is an important part of our history and it is important that we support it but this can only happen if we engage with it. The art world can be daunting, we help simplify it by giving you access to all the information, inviting you to join us when we attend events and encouraging you to ask questions – we truly believe there are no stupid questions when it comes to understanding art.
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dimanche 29 mars 2020

Allegory of unheard Dhongariya Kondh’s (tribal) of Odisha


Source India City Blog by Nimi Shasharma
Allegory of unheard Dhongariya Kondh’s (tribal) of Odisha Under the canopy of Niyamgiri Hills situated in Odisha resides an endangered and unheard group of tribal known to be Dhongariya Kondh. The forests of Rayagada and Kalahandi are home to 8000 tribals. For these tribals, the hills are home to their God Niyam Raja. These hills are situated miles away from the hustle of city, behind the woods. Since generations, these tribal groups are breathing in this fresh air and sustaining on the fruits, vegetables, cultivation and by practicing horticulture. They spend their time together by singing, dancing, chanting old mantras, weaving, knitting and helping each other. They were elated in their own tiny world till Vedanta came into their lives.
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samedi 28 mars 2020

The Indispensable Modernist: Francis Newton Souza


Source Livemint by Vivek Menezes
Precisely 18 years ago, the tumultuous and meteoric life of Francis Newton Souza came to an end. The great Indian modernist had been based in New York for decades but died on 28 March 2002 while visiting Mumbai, the beloved city of his youth and initial ascent to notoriety. He was buried two days later,with only a handful of witnesses, and no family members in attendance. The rest of the world barely paid any attention at all. Writing in the Deccan Herald a fortnight later, the poet and editor Adil Jussawalla was white-hot angry about what he called “the near-indifference to his death, the mealy-mouthed praise". He wrote: “I’m shocked. He was more than a friend. Surely there’s little doubt he was one of our greatest painters." Jussawalla pointed back to the artist’s A Fragment Of An Autobiography, first published to great acclaim in England in 1955, then republished in India, writing, “Hardly anyone in a city which buys, sells and talks art all the time and which has pretensions to be one of the art’s international capitals, seems to have been interested in buying the book since copies can be bought off one of the city’s pavements at ₹10 each." He quoted this unforgettable passage: “I was a rickety child with running nose and running ears, and scared of every adult and every other child. Better had I died. Would have saved me a lot of trouble. I would not have had to bear an artist’s tormented soul, create art in a country that despises her artists and is ignorant of her heritage." Concluded Jussawalla, “It’s something I read with great bitterness now."
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samedi 14 mars 2020

One World Through Art: A Review of Modernisms at the Block Museum

Source Newcityart by Chris Miller
Sixty years ago, Abby Weed Grey began traveling to Iran, Turkey and northern India to collect art. A childless, recently widowed St. Paul housewife, she used her late husband’s small fortune to establish a foundation for “the encouragement of art through the assembling of international collections of art for cultural exchange programs.” Such a project may have been inspired by the tours of “New American Paintings” throughout Europe, sponsored by the CIA in the late 1950s. She focused on Middle Eastern artists who were “breaking with the past to cope with the present,” much like modern artists in Europe and America had been doing for half a century. It does not appear that she had any aesthetic or ideological requirements—except that, like the mainstream art world of her day and ours, she must have considered beauty, naturalism and idealism to be outdated relics from another era.
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lundi 9 mars 2020

Home of Warli Adivasi revolt, Talasari’s loyalty to the Left deepens


Source The Indian Express by Kavitha Iyer
There is no memorial at the banyan tree around which the Warli Adivasi Revolt of 1945 began in Talasari taluka’s Zari village. Nearly 5,000 indentured tribals who gathered here from Thane, Vikramgad, Dahanu and Palghar had refused to work on landlords’ fields until they received 12 annas a day in wages, their resistance sowing the first seeds of rights-based movements among the region’s indigenous communities. Today, the younger generation in Zari, 150 km from Mumbai, has no more than a faint acquaintanceship with their ancestors’ historic struggle but a blend of that history and contemporary circumstances keeps Talasari’s adivasis loyal to those who led that revolt, the Communist Party and the All India Kisan Sabha.
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