vendredi 27 mai 2011

Indo-French art exhibition in Paris

Source The Hindu by Vaiju Navarane
France has long turned its nose up at contemporary Indian art. Established Indian painters such as M.F. Hussain, S.H. Raza, Gaitonde, Francis Souza or other stalwarts, have never received critical acclaim or much attention from one of the snobbiest centres of art in the world even when their works were selling for millions of dollars in art auctions worldwide. In fact Raza, who spent over fifty years living in Paris was so hurt and annoyed by the treatment he received at the hands of French critics that he decided to sell his property in France, abandoned the idea of creating a foundation and returned to India. It is as if Paris had decided it would discover modern Indian art on its terms and at its own pace. And now it is done.
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Art must reflect life

Source Times of India
These are the paintings done by Warli tribals, an ancient East Indian tribe. Art does not need to be complex to be appreciated, it needs to reflect life. Unlike most other ancient Indian painting tradition that uses vibrant colours and depict mythological stories in fine detail, Warli paintings express everyday life using extremely basic object forms and just one colour while on an austere mud base. "Art is an inseparable part of our life. The joyful moments in our simple life, our festivals, all kind expression on the thatched walls are expressed in the art. The subjects usually of the paintings have been dances, marriage procession, coconut and palm tress, rice fields and tribal gods,'' added Meenakshi.
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Les artistes indiens sont partout, à Beaubourg aussi

Souce Le Monde par Philippe Dagen et Harry Bellet
Le sujet n'est pas l'art indien (qui serait plutôt les arts indiens tant il y a de différences), mais le regard porté sur le pays par une trentaine d'artistes indiens, tous vivant dans les métropoles indiennes ou occidentales, tous rompus aux pratiques de l'art contemporain international. Les formes d'art dites "tribales" qui persistent dans plusieurs Etats indiens sont absentes. Déterminées par des codes symboliques et religieux, elles n'auraient rien révélé de la situation actuelle du pays, se justifient les commissaires.
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Art from another world

Source The Telegraph by Somak Ghoshal
Kavita Singh and Jyotindra Jain provide refreshing insights into the politics of contemporary folk and tribal art. In Jain’s potted biographies of Sonabai, Khemraj Kumar and Jivya Soma Mashe, one glimpses the ordeals faced by these indigenous artists as they struggled to carve out a niche for themselves within a booming art market in India and beyond. “There are third worlds within third world,” Jain writes astutely, as he concludes his survey of the competition, rivalry, humiliation and stereotyping ‘tribal’ artists faced from their more mainstream colleagues.
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mercredi 25 mai 2011

Plein feu sur l'art indien contemporain

Source France Culture par Elisabeth Couturier
Au printemps 2011 Paris se met à l'heure indienne. Deux grands évènements et une myriade d'expositions donnent la mesure de ce focus consacré à l'art indien contemporain. Avec "MONUMENTA" le Grand Palais offre son écrin de verre et de lumière à Anish Kapoor, un artiste mondialement reconnu dont l'oeuvre dialogue sans cesse avec sa culture d'origine. Avec "Paris-Delhi-Bombay" le Centre Georges Pompidou ouvre ses cimaises à une nouvelle génération d'artistes du continent indien. Deux manifesations qui, loin de tout exotisme montrent à quel point la mondialisation a transformé le paysage de l'art international.
Invité(s) : Sophie Duplaix, commissaire de l'exposition Paris Delhi Bombay à Beaubourg, Jean de Loisy et Hervé Perdriolle.
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Damodar meets Danube

Source The Times of India by Jaideep Deogharia
Tribal artists Phillomina and Elizabeth painted murals on large hardwood boards to show the similarity of rock art in Alpine in Europe and Isko rock art sites of Hazaribag district in Jharkhand. "By linking the two rivers, we wanted to demonstrate he proximity in Indo-European culture, particularly in terms of life that flourished on the banks of river," Imam said stressing that it was easier to express the sentiment by drawing similarities. "Danube and Damodar have surprising paleo-archeological similarities. While the Danube originates from Black forest in South Germany and flows through south Germany to mix into the Black Sea, the Damodar originates from two sources and after running through Jharkhand and West Bengal meets the Bay of Bengal. Both the rivers have seen human culture thriving on the banks," he said.
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lundi 23 mai 2011

En route pour l'Inde au Centre Pompidou

Source Paris
À travers l’art se dévoilent les problématiques majeures qui traversent l’Inde contemporaine. Qu’est-ce que le bonheur, à l’heure du calcul de "l’indice de bonheur global" du prix Nobel d’économie Amartya Sen ? Qu’est-ce que le travail, à l’heure de la mondialisation et de l’essor des nouvelles puissances économiques ? Que devient le rapport à la religion, tandis que montent les intégrismes ? Comment appréhender les enjeux de la croissance urbaine ? La violence ? L’amour ? La place des femmes ?
L'exposition tente de trouver les réponses à ces questions selon le regard, indien et français, en soulignant à la fois leurs oppositions et leurs convergences.
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vendredi 20 mai 2011

La « créature » du Grand Palais

Source Le Courant par Timothée Jouan-Ligné
Pour la quatrième année consécutive, la Nef du Grand Palais reçoit une œuvre monumentale d’un des plus grands sculpteurs contemporains, cette année l’artiste anglais d’origine indienne Anish Kapoor. Une fois encore la manifestation Monumenta nous offre une expérience inattendue, celle de vivre physiquement et psychologiquement une œuvre d’art.
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Nasreen Mohamedi : Notes - Reflections on Indian Modernism

Source Wiels Museum
Nasreen Mohamedi (1937–1990) est considérée comme l’une des artistes indiennes les plus importantes de sa génération et ses peintures, dessins et photographies, réalisés du début des années 1960 à la fin des années 1980, constituent une oeuvre majeure du canon moderniste. Mohamedi a étudié à Londres et à Paris de la fin des années 1950 au début des années 1960, et est ensuite retournée en Inde pour enseigner à la Faculté des Beaux-Arts de l’université de Baroda. En Inde, ses dessins austères et son expression retenue contrastaient avec les oeuvres figuratives et narratives produites par nombre de ses contemporains.
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jeudi 19 mai 2011

Sotheby's Sets New Auction Record for American Indian Art with War Shirt that Sells for $2,658,500

Source Art Daily
Sotheby’s set a new record for a piece of American Indian Art at auction when an Oglala Sioux Beaded and Fringed Hide War Shirt which once belonged to the famous and celebrated Sioux Chief, Black Bird sold to an anonymous buyer for $2,658,500 (est. $250/350,000). The War Shirt led the sale which totaled $4,809,503. This was comfortably over the high estimate and the highest ever total for a various owner sale in this category (overall est. $2.8/4 million).
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"Je suis un businessman vagabond"

Source Aujourd'hui l'Inde par Alexandre Dececchio
Surnommé "le maharajah français", Francis Wacziarg incarne la France en Inde depuis 40 ans. Parti de rien, cet homme d’affaire de 69 ans s’est construit un empire financier, sans jamais oublier sa passion pour l’art et la culture. Il nous raconte sa «success story » à l’indienne.
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mardi 17 mai 2011

There’s No Miracle Water Here

Source The Asia Mag by Dawn Tan
Bulu Imam is a man on a mission and he’s not afraid to speak his mind. Neither does he care about stirring controversy. “Oh, lots of people don’t like what I say and I don’t give a hoot,” he tells me as we sit on the sun-drenched roof terrace of the Noor Us Sabah Palace in Bhopal, former residence of the Begum Abida Sultan, the last female ruler of the Bhopal throne. His list of accomplishments overwhelms – artist, writer, philanthropist and environmentalist, with an arguably unparalleled contribution to bringing the tribal art of India to the international panorama. As Bulu Imam describes it, he’s on a personal quest to stop what he calls a systematic attack on India’s tribal people. “We are talking eradication and extinction to the point of ethnocide,” he says with urgency. “When the buffalo disappeared from the plains of America, people understood the relationship between the animal and the native American Indians. In India’s case, the forests are the mainstay of the tribes. If we remove the forests, the tribes will go.”
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Three Visions of Contemporary Indian Photography in Paris

Source Art Info by Grégory Picard
There's no doubt that Indian art is on the rise in the West. London-based Indian artist Anish Kapoor has just filled Paris's Grand Palais with his enormous "Leviathan," and on May 25 the Pompidou Center will unveil its first show bringing together Indian and European art, "Paris, Delhi, Bombay." Meanwhile, on a smaller scale, a photography show at Paris's Galerie Duboys, "This is not That," opens May 20 and brings the work of several Indian photographers to a European audience.
Co-curator and photographer Fabien Charuau, who also has works included in the show, told ARTINFO France that the "exhibition is a chance to step away from the diktats imposed by curators outside India, who try to make Indian offerings fit stereotypes and long-standing clichés." A photographer himself, Charuau is has lived in Mumbai for 13 years. He and his fellow curators hope to take the show to India after it closes in Paris.
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jeudi 12 mai 2011

Shalom Bollywood

Professeur en sciences politiques à l’université de Victoria à Melbourne, Danny Ben-Moshe prépare actuellement un documentaire retraçant l’histoire des juifs dans le cinéma en Inde. Une communauté ultra minoritaire dont les femmes ont pourtant longtemps occupé le haut de l’affiche à Bollywood. Entretien.
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lundi 9 mai 2011

mardi 3 mai 2011

BRIC Building

Source Art Info by Roman Kraeussl
When the acronym BRIC was coined a decade ago to denote the rapidly developing nations of Brazil, Russia, India, and China, few could have predicted the impact their explosive economic growth would have on the markets for their art. As newly wealthy consumers emerged in those countries, which account for more than 40 percent of the world’s population, so did demand for works made by their national artists.
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L'infini selon Anish Kapoor

Source Le Figaro par Valérie Duponchelle
Je veux évoquer la relation à l'infini de notre système cosmique et aux ténèbres de notre univers corporel. L'homme s'interroge sur ce qui se cache sous la croûte terrestre, au dessus de la stratosphère, sous sa propre peau. Le sculpteur aussi, qui part de données physiques, très vite métaphysiques. La sculpture est un moyen simple de poser des questions évidentes sur la matérialité du monde. Ma problématique est toujours d'inventer un objet qui n'est pas un objet, un objet inconfortable, trop grand, trop complexe à appréhender du regard, trop désordonné… L'art s'enferre souvent en voulant se montrer digeste, plaisant et amical, comme une puissance invitante (rires).
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lundi 2 mai 2011

In pictures: The ancient art of Madhubani paintings

Souce BBC News

Evocative masterpiece

Source The Hindu by Sowmya Sivakumar
To call Bhimayana a ‘book' would amount to a trivialisation — it is a magnificent work of breathtaking art that symbolises the soul-stirring biography of an exceptional leader. What makes this even more incredible is that traditional Pardhan Gond artists Durgabai Vyam and Subhash Vyam who created this masterpiece, were unaware of Ambedkar until Navayana publisher S. Anand approached them. Unlettered, the artists were read out his story over several sessions, based on Ambedkar's own autobiographic illustrations titled Waiting for a Visa — accounts that inspired, moved and transformed into free-flowing, magical drawings in a sequential form as we see them.
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dimanche 1 mai 2011

Abhay Maskara Tribals in Paris

Source Mumbai Mirror by Vishwas Kulkarni
A new breed of curators is proof that India is not only confidently absorbing aesthetic influences but also exporting them.From what used to be a niche industry, Indian art today is a solid business. The economic boom has brought money for Indian art to be packaged and exported to foreign audiences. This is also creating a space for curators who are changing how India itself is presented outside of the clichés that plague ‘Indian art’. From engaging the visual image from a desi perspective to tracing linkages between tribal/folk art and contemporary artists to exploring post-globalisation anxieties, here are some curators who represent the vibrant curatorial canvas that is painting itself on native soil. Since opening his gallery three years ago, Abhay Maskara has curated 19 shows there. Mother India will take him to Paris in June at the Galerie du Jour, where, along with famed Indian tribal/folk art expert Hervé Perdriolle, he will put together a show that draws attention to the linkages between folk art and contemporary Indian art. “A lot of my artists work with materiality, sometimes found in nature, and there is an obvious resonance with tribal motifs."
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