CONTEMPORARY ONE WORD SEVERAL WORLDS

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


















Source BAMPFA
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.
> see the video

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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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

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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