jeudi 3 décembre 2020

Bengaluru's Museum of Art and Photography to make digital debut on December 5

Source Business Traveller
The Museum of Art and Photography (MAP), in Bengaluru, is making its digital debut on December 5, with the week-long programme, Art (is) Life and inaugurating their Museums Without Borders initiative. MAP’s building is still under construction owing to the delay caused by the pandemic. This will be south India’s first major private art museum. MAP’s digital initiative will offer curated experiences, allowing participants to soak in Indian culture from the comfort of their home. MAP has a growing collection of over 18,000 artworks, primarily from the subcontinent and dating from the tenth century to the present.
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mardi 1 décembre 2020

Contemporary Excavations

Source Frith Street Gallery
Frith Street Gallery is delighted to present an exhibition of works by Gauri Gill, James Nelson, Daniel Silver and Rajesh Vangad, curated by Sandhini Poddar. Contemporary Excavations explores the mining of classical, modernist as well as Indigenous art histories and how these knowledge systems are appropriated, synthesised, and made new in the work of these artists. Gauri Gill has a complex photographic practice containing several lines of pursuit. They are characterised by Gill’s interests in feminism, Buddhism, community, ecology, and education. Gill has had a long engagement with precarious communities including nomadic, tribal and small peasant groups in rural Rajasthan in India over the past two decades, as seen in her ongoing series, The Mark on the Wall. Beginning in early 2013, Fields of Sight is a collaboration with the renowned Adivasi artist, Rajesh Vangad, combining the contemporary language of photography with the ancient one of Warli drawing to co-create new narratives. The Warli define their relationship to existence through Mother Nature and farming and fishing are crucial to their livelihoods. Their ancient matriarchal art form, dating back millennia, was practiced solely by the women of the community until recently. Considered as a leading exponent of this art form, Vangad’s paintings showcase the tribe’s intimate and sensitive relationship to the land and to agricultural cycles, expressed through the harvesting of grains.
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vendredi 20 novembre 2020

20 Women Running The Indian Art Scene

Source TheArtGorgeous by Abhinit Khanna
The ecosystem and infrastructure in South Asia looks credible more now than ever before by bringing in a steady stream of international visitors, collectors, researchers and curators. In India, Mumbai has often competed with Delhi to be the art capital when it comes to commercial galleries, institutions and museums. However, the scene is now mushrooming in cities like Ahmedabad, Baroda, Chennai, Bangalore and Kolkata, by building new visual art spaces, enthusiasts and young art gallerists. India has also seen a huge shift in taste in arts, design and music. The younger generation is eager to explore and work in the field of visual arts and culture. They have also realized that it’s an industry, which was earlier controlled and enjoyed heavily by the upper class individuals making it difficult for the new entrants to succeed in the arts industry. While one can still argue that the wealthy individuals largely enjoy the power, some still have hope in few powerful opinions within the Indian art world. In order to shed light to these emerging as well as established powerful voices we made a comprehensive list of 20 leading ladies running the Indian art scene.
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lundi 16 novembre 2020

An Extraordinary Homecoming

Source India Currents by Shonali Madapa
Barbara Kipper’s promised gift of 464 objects from her remarkable collection of Asian jewelry and ritual objects to the new Museum of Art & Photography (MAP) in Bangalore, is exceptional in more ways than one. Besides being a gift, it’s the first time the Chicago art collector’s generosity has extended to an institution based in her collection’s geographic origin. While most countries strive to repatriate precious cultural artifacts forcibly taken away during oppressive foreign regimes in their varied pasts, what is unusual in this instance is Kipper’s firm belief that these artifacts rightfully belong to the culture of their origin.
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jeudi 12 novembre 2020

Converting art into alphabet

Source Livemint by Avantika Bhuyan
In fact, collaboration is at the heart of what Typecraft does. Founded in 2012 by visual designer and educator Ishan Khosla, in partnership with Andreu Balius and Sol Matas, the project is a one-of-its-kind, creating a digital typeface from a craft or tribal art. As Khosla states, the initiative combines traditional knowledge systems with design and digital technology. So far, the team has collaborated with craftswomen, who practice Chittara floor art, Godna tribal tattoos, Paakko and Soof embroideries, Madhubani art and the Barmer appliqué and patchwork. They have three type faces available in the market and four more are set to be out. The process of font creation varies from craft to craft, depending on the motifs and the ascribed meanings for each. The latest in the series revolves around the Mithila art from across the Madhubani district of Bihar. However, the work on that is going slow due to the ongoing pandemic. The Typecraft team has made a conscious decision to work only with craftswomen. “When you support women, the whole family benefits,” says Khosla. The idea is not just to provide livelihood but also bridge the gaps between design and craft, rural and urban, mainstream and the subaltern.
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samedi 31 octobre 2020

In photos: Costume designer Bhanu Athaiya’s paintings and fashion illustrations are up for auction

Source Scroll In
The renowned costume designer Bhanu Rajopadhye Athaiya, who died on October 15, was also a trained and skilled artist. Athaiya graduated from Mumbai’s JJ School of Art in 1952. She was the only woman to have three paintings at a show by the Progressive Artists’ Group in Mumbai in 1953. In 1982, she became the first Indian to win an Oscar, for Richard Attenborough’s biopic Gandhi. Athaiya’s paintings and drawings were made between 1945 and 1952, before she set out to design costumes for Hindi films.
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Vasudeo Santu Gaitonde: The Late Indian Modernist That Made A Mark In History

Source Asia Tatler by Christine Andas
In September 2020, an unprecedented victory for Indian art had occurred within the walls of Pundole, an auction house in Mumbai. The late Indian Modernist Vasudeo Santu Gaitonde's oil painting, Untitled (1974), had been sold at an auction for 4.5 million dollars, surpassing his previous record. The painting comes from the collection of Masanori Fukuoka, owner of Glenbarra Museum in Japan.
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vendredi 30 octobre 2020

How covid-19 has darkened India’s cultural season

Source Livemint by Somak Ghoshal
If winter is waiting in the wings, can India’s art and culture season be far behind? As with so much in 2020, the answer to this question is a despondent yes. If 2020 is the year of the pandemic, it is also the year of postponements, as two recent announcements drove home. Earlier this week, the Kochi-Muziris Biennale (KMB) postponed its forthcoming edition, scheduled for December, to 2021. Days ago, the organisers of the India Art Fair (IAF) also decided to move its next edition to 2022. The Jaipur Literature Festival is yet to firm up plans for 2021, though its online programming continues.
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mercredi 28 octobre 2020

Chitra Ganesh on Utopia, Futurity, and Dissent

Source Ocula In Conversation with Jareh Das
Jareh Das :I grew up in Lagos in the 1990s where everyone watched a lot of Bollywood movies and it is still very popular. I remember Nagin (1976) centred on a female protagonist who could transform herself into a snake, and the movie follows her quest to avenge the death of her lover. I bring this up because I recall, in these movies, prominent themes of the 'avenging woman' who was also often depicted as a goddess. What themes and elements of the visual language of Bollywood movies interest you, and when did you first engage with these movies and the visual and popular culture around them?
Chitra Ganesh : It's amazing that you bring up Nagin! One of the posters for this film, in particular, has been iconic for me. Growing up in the Queens and Brooklyn boroughs of 1980s New York City—before the birth of VCRs and home movie culture—there was a local theatre that screened Bollywood films, so I actually saw the film on screen.
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We will develop a digital platform to host online show: Bose Krishnamachari

Source The New Indian Express
The much-awaited fifth edition of the Kochi-Muziris Biennale (KMB) – one of South Asia’s top arts initiatives that has put India on the global contemporary art map – has been postponed to November 1, 2021 due to the raging pandemic. Bose Krishnamachari, Biennale Director, tells The Morning Standard about the unfavourable conditions in Kerala that led to this decision and participating Delhi-based art entities.
What led you to postpone KMB just one month before the opening date?
The decision to postpone the date of opening was taken at the beginning of this month, but was made public only after we had spoken to all of our artists.
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lundi 12 octobre 2020

Experiments with colour at Frieze London

Source Livemint by Avantika Bhuyan
With the ongoing covid-19 pandemic, like most fairs across the world, Frieze London too has decided to go the virtual route. A wide array of forms, mediums and styles can be seen on the online viewing rooms of international galleries. Indian galleries too are adding to the discourse on how artists are interpreting the changes taking place in the world today, with their deeply personal takes on politics, gender, the environment and more. While Experimenter focuses on the body and its relationship with the space around it with Radhika Khimji, Praneet Soi, and others, Nature Morte showcases Jitish Kallat’s immersive installation, Covering Letter (terranum nuncius), as part of the Frieze Focus section, 'Possessions', curated by Zoe Whitley. The one thread that emerges from the various showcases is the focus on colour and materiality. Galleries are using this to talk about personal stories of resilience, as is evident in Vadehra Art Gallery’s display of Benodebehari Mukherjee’s rare paper-cut collages created after he lost his eyesight, or an exploration of the spiritual that Jhaveri Contemporary is showing with Prafulla Mohanti’s solo display.
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lundi 28 septembre 2020

How a Danish family built an extraordinary collection of modern Indian art

Source Livemint by Somak Ghoshal
The family own an array of pamphlets from gallery shows which Gunnar and Inger attended, but never ended up buying any paintings from – showing that they were actively learning about and discovering artists all the time, but that they were also selective, and carefully considered which art to buy before making any purchases. It was a collection which they very much built together for their family home, and with each other’s tastes in mind, but some works were their personal favourites. Gunnar for example especially loved the works of Nareen Nath, and the flower paintings by B. Prabha carry Inger’s name on the receipt. Another secret to their success was their forward-looking vision – the art they were buying was, at the time, not yet in the mainstream in India. Even the likes of Ram Kumar and V.S. Gaitonde were still very much on the ascendency at the time the Hansens were buying. They really followed their heart. Theirs was a collection of mostly young, promising Indian modernist painters which they wanted to hang in their home of course, to live with, but also to support this rising generation. It is a real joy, now around half a century later to peel back the lid, and rediscover this art – all of it unpublished – with similarly same fresh eyes that Gunnar and Inger collected with many years ago.
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samedi 26 septembre 2020

V.S. Gaitonde's £3.4m record-breaking painting leads strong South Asian sales season

Source The Art News Paper by Kabir Jhala
In fact, business is booming. According to data collected by the Indian art market intelligence agency Artery, 77 artists have made their records since January, compared with an average of around 40 in the same time period over the last several years. Artery's founder Arvind Vijaymohan also points to recent instances where big-ticket private sales—a "significant" Tyeb Mehta and a Gaitonde currently held in London—have been cancelled upon noting the strength of this month's auctions. Both works are now in talks to be consigned for next season's sales. "We are still a relative trickle compared to global sales, having clocked just above 25 years of a formal mainstream market practice," Vijaymohan says. "There is however tremendous growth potential, as evidenced in the market's performance over the past six months—rising sharply while the economy is in a slump. We must however follow a wide-set, global vision, and not remain myopic in our perspective."
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vendredi 25 septembre 2020

How to see an ‘Indian’ painting

Source Time Magazine by Benita Fernando
In the last eight years, filmmaker Vaibhav Raj Shah has made over 150 artist films. Most of them were commissions by important players in the Indian art world, such as the Kochi-Muziris Biennale, India Art Fair and Serendipity Arts Festival, and featured interviews and portraits of artists. In the course of this filmmaking experience, Shah observed that most of his Indian audiences, whether in India or abroad, “know about David Hockney but not Bhupen Khakhar”. Instances like these, where Indian artists command lesser familiarity than their international counterparts, are only far too many. One of the possible reasons is the relative absence of accessible information on Indian art, especially on contemporary practitioners. ARTHISTORY+, Shah’s new digital project, is aimed at filling this lacuna in art education.
> read more > see all the videos on youtube

How Urmila Devi Found Liberation in Mithila Painting

Source News Click by Tarique Anwar
“My husband used to draw a rickshaw to earn a living. We were faced with extreme poverty, and arranging two meals was difficult. With the aim to support my husband’s earning, I began practicing paintings. But he did not like it. He used to thrash me and burn my paintings in the earthen stoves at home. He did not want me to work and go outside because women stepping out were not appreciated in those days. But he could not deter me from doing something good for the family and my children. I continued practicing silently. Whatever I earned after selling the paintings, I spent it on the education of my children — two of them are now acclaimed artists,” the 70-year-old said. “After I received the state honor in 1985-86, my husband’s attitude completely changed. He now began supporting me and respecting my work. He even accompanied me when I first stepped out of my village to go to Patna to receive the award. Since then, I have enjoyed his support. The art completely changed my life. It enabled me to impart a good education to my children and lead a respectable life in society,” she said.
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jeudi 17 septembre 2020

Remembering Kapila Vatsyayan: A Civilisational Voice in Post-Independence India

Source The Wire by Ashok Vajpeyi
Kapila Vatsyayan was a civilisational voice in post-Independence India – she embodied in her vision and her work, a deep understanding of tradition and an openness to modernity. She was one of the very few scholars who could understand and highlight the continuum between the two. Her scholarship covered both the Indian traditions of scholarship and the international Indological traditions. Again, this was rare – more often than not you have scholars who understand one or the other. She was able to combine them in creative and imaginative ways.
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mardi 15 septembre 2020

Prateek and Priyanka Raja: Gallery as Incubator

Source Ocula by Stephanie Bailey
When we started the gallery, we felt a very strong urge to locate ourselves in Kolkata, not only because both of us are from the city. We decided to open the gallery here because there are things about the city that make it unique: for one, its cross-cultural, decentralised, connective tissue. It's important to exist in a place where the audience has the space to disagree and dissent and debate, and reference or cross-reference across history, literature, science, and culture. Not only was Kolkata one of the very important colonial and pre-colonial centres of exchange, but it's also located close to the largest delta in the world, so it's where everything kind of comes together or flows in and flows out into a larger world. It was something we thought about consciously as being a node, not just ideologically, politically, or geographically, but even from the point of view of how people are here. This is a place where things are disseminating or have always disseminated. That makes a very different kind of audience, that is learned and able to cross-reference.
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dimanche 6 septembre 2020

V. S. Gaitonde A new world record for Indian art

Source The New Indian Express by Vandana Kalra
On September 3, when an untitled 1974 oil on canvas by V S Gaitonde came under the hammer for Rs 32 crore ($4.36m) at an auction by the Mumbai auction house Pundole’s, it set a new world record for Indian art. Bought by an unnamed international buyer, it was part of the auction titled “Looking West: Works from the Collection of the Glenbarra Art Museum, Japan”, owned by Japanese businessman and art collector Masanori Fukuoka. It was reportedly estimated to sell between Rs 15 crore and Rs 25 crore. The same auction also saw the sale of an untitled 1993 work by Jagdish Swaminathan for Rs 9.5 crore, which set a new record for the artist.
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lundi 31 août 2020

Gauri Gill ON SEEING

Gauri Gill, who has been called “one of India’s most respected photographers” (New York Times) and whose work is featured in When All That Is Solid Melts into Air, talks about the evolution of her photographic practice, her collaborative projects, and her ongoing engagement with rural India since 1999. Various of Gill’s ongoing projects highlight her sustained belief in collaboration and “active listening” and in using photography as a memory practice. Her work addresses the twinned Indian identity markers of class and community as determinants of mobility and social behavior. It is marked by empathy, surprise, and a human concern over issues of survival. Among her projects is "Notes from the Desert," a decade-long study of marginalized communities in rural Rajasthan. Since 2013 she has collaborated with Rajesh Vangad, a renowned Warli artist, on "Fields of Sight," combining the contemporary language of photography with the ancient one of Warli drawing.
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dimanche 30 août 2020

When a Japanese fish baron decides that Pundole’s Mumbai will auction some of his collection

Source Times od India by Uma Nair
“When Masanori Fukuoka first walked into the gallery in 1990, one presumed he was a Japanese tourist making some purchases on a business trip to India. Happily that was not to be. A few months later, he re reappeared; wanting to know more about artists he had seen at the NGMA in New Delhi on his previous visit. He was impulsive and was certainly buying more than an individual needed to decorate his home. Later one learnt that he wanted to understand Indian modern art better, by living with it over a period of time in Japan. Before one knew it, he had built an extension on vacant land adjoining his food processing factory in Himeji, and opened The Glenbarra Art Museum for his personal pleasure, as well as to expose Indian art to the local public."
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mardi 11 août 2020

In Amit Dutta’s bold and beautiful cinema, an unforgettable exploration of Indian art traditions

 Source Scroll In by Suresh Chabria 

Dutta belongs to a small band of independent filmmakers in India who persist in exploring and expanding the possibilities of the film medium. His films are situated at the intersection of Indian art history, philosophy, literature and narrative traditions articulated through formal experimentation with the devices of cinema. In this ambitious project he may be reckoned to be extending the work of earlier great avant-garde filmmmakers like Ritwik Ghatak, Kumar Shahani, and particularly Mani Kaul, whose elliptical and layered aural and visual style is perhaps the chief influence on Dutta’s films. However, in contrast with his predecessors, Dutta’s films bring to the fore a newer sensibility that is not soaked to the same extent with the sensual dimension, ideological impulses or the gender-conscious trope of the Mother Goddess myth.

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samedi 8 août 2020

Tyeb Mehta sets new world record for South Asian art at Christie’s post-lockdown art auction in New York

Source Money Control by Deepali Nandwani
The late artist, one of the stalwarts of India’s Progressive Art Group (PAG), has consistently drawn top dollars in the auction market. In 2018, his work, Kali—a dramatic painting with the goddess in blue colour with a red mouth — set a world record of $4 million in a physical, on-ground auction. And now another of Mehta’s painting, Falling Figure created a new benchmark in post-lockdown online auctions by realising $975,000, achieving the highest price for a South Asian Modern + Contemporary work since lockdown in Christie’s New York’s sale, which was part of the Asian Art Week online.
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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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