Source On-Verge by by Ruth Erickson
The project for the MoMA was the insurrectionary insertion of an invisible work, which would always remain beyond the grasp of institutional acquisition. Upon arriving with his group of volunteers at 4pm, Forest was greeted by three security agents who prohibited the work and threatened to call the New York City police if any performance took place. A twenty-minute conversation between Forest and the guards ensued about freedom of expression within the museum. The MoMA, Forest learned, only exhibits acquired or borrowed works, that is, works that have already participated in the art market. This is the very market being attacked sixty blocks further south by Occupy Wall Street and just a few block north by protestors at Sotheby’s. This is the market that Forest had made visible through the failure of his Oeuvre Invisible. After being trailed by security guards until leaving the building and area, Forest declared the creation of a new work, “The Conversation.”
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lundi 28 novembre 2011
Occupying the Art World: Fred Forest Visits NYC
samedi 26 novembre 2011
Masters and the economics of art
Source Times of India by Archana Khare Ghose
The Indian art market that has come under sharp focus ever since it started growing rapidly in the early years of the last decade is highly lopsided - the collector base is of just about 500, largely located in two cities. That's ridiculous if it wants to make a dent internationally like China has done. The Chinese art market is 40 times that of India's.
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They are like this Warli
Source DNA by Gangadharan Menon
It all started four decades ago, in the early 70s. Pupul Jayakar, the cultural activist who revived many traditional Indian arts, along with her assistant Bhaskar Kulkarni, was on a voyage of rediscovery. They rediscovered the rich and colourful Madhubani art in north India, and then the spartan Warli art that shuns the use of all colours except brown and white.
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Gritty Indian art-house film Gangor sweeps awards in America
Source Firstpost by Uttara Choudhury
The festival ran an attractive line-up of 38 South Asian films and was heavily represented by Indian films, as it has been since the event’s 2007 inception. Muzzafar Ali’s critically acclaimed “Anjuman” with Shabana Azmi singing her own songs, was the crowd-pleasing closing night film. All the movies were satisfying but Italian-Indian co-production “Gangor”, which had earlier got a thundering audience reaction in Rome, got tremendous festival play. It scooped the Best Film, Best Director, Best Actor and Best Actress awards at the New Jersey festival. The film made by the Italian director is multi-lingual with English, Bengali and smatterings of Santhali, a dialect spoken by the Santals who live in Jharkhand, Bengal, Orissa, Bihar and Assam.
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mercredi 23 novembre 2011
L'art contemporain indien
Source Art Market Insight
Il faut attendre 2010 et la reconnaissance de nouveaux artistes (Bharti KHER obtient une enchère record à plus d’un million de dollars, Jitish KALLAT dépasse pour la première fois les 300 000 $…) afin de relancer le marché de l’art contemporain Indien. Dopé par une croissance de 15% de son Produit Intérieur Brut en 2010, ainsi que par l’extraordinaire croissance de plus de 20% de son nombre de millionnaires (soit plus de 150 000 millionnaires en Inde en 2010), l’art Indien bénéficie enfin d’une demande locale important qui soutient ainsi la scène locale émergente. Le premier semestre 2011 signe le retour des records.
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dimanche 20 novembre 2011
Gloom in economy spurs boom in art market
Source Express Buzz
As art adviser Allan Schwartzman put it after Christie’s sale: “People want to take their money out of Wall Street and put it into hard assets such as art.” In fact, the boom in the collectibles market seems to represent one of the paradoxes of wealth recovery. While yachts, planes and mansions are stuck in a slump, collectibles are raging. Prices for the best-known fine art have all surged after taking a brief pause in 2008 and 2009 and these items have become a better and more secure investment than stocks or bonds.
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mercredi 9 novembre 2011
Via India to Israel: The Migrations of the Bnei Menashe
Source ISN Insights by Shalva Weil
So far, 1,500 tribal people from north-east India have immigrated to Israel, with a further 7,200 due to join their brethren in the Jewish state. The decision (in principle) to bring the Bnei Menashe was taken four months ago by the Israeli Ministerial Committee on Immigration and Absorption, headed by Foreign Minister Avigdor Lieberman. The Israeli government is expected to pronounce a final verdict on the subject in the near future.
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mardi 8 novembre 2011
Indra’s Cloud
Source The Examiner
Here is an example: my recent sculpture, “Indra’s Cloud”, is made entirely out of plastic water bottles. These were readily available to me; I was staying at a guest house in Vrindavan, India that was also hosting a foreign yoga group. This group went through these bottles at a surprising rate. The bottles piled up in the hallways. It wasn’t difficult for me to collect enough to make this sculpture. The fact that it was necessary for this group to use such a vast quantity of mineral water is a direct result of the environmental devastation of the Yamuna River. Furthermore, the translucence of the bottles naturally lent them to represent a cloud. Finally, the narrative of this cloud floating on the Yamuna around the perimeter of the town recalls a local myth.
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dimanche 6 novembre 2011
L'art indien mis en lumière à la galerie du Jour
Source Hôtel Jeanne d'Arc
Grandement inspirée de l’exposition Magiciens de la Terre au Centre Pompidou en 1989, la rétrospective de la Galerie du Jour Agnès B. nous propose de porter un nouveau regard sur l’art de l’Inde contemporaine. Une exposition tout-à-fait singulière à découvrir d’urgence !
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samedi 5 novembre 2011
"Une oeuvre est comme un chien, elle ne trahit pas"
Source Le Monde par Emmanuelle Lequeux
De nos jours, il y a tellement de choses que, à moins d'avoir trois avions et 50 rabatteurs, cela n'a aucun sens de collectionner. Beaucoup de mes confrères confondent art et marché. La collection ne répond pas pour moi à un besoin social, même si je comprends les gens qui achètent du Jeff Koons pour se donner une posture. Simplement, elle est mon seul terrain de liberté. Je sais que je passe à côté d'oeuvres qui resteront dans l'histoire de l'art, et je m'en fous. Pour moi, la seule décision possible est d'aller vers l'autoportrait, d'oublier l'Histoire et la réussite. De choisir des oeuvres car on se sent à l'intérieur d'elles, et qu'elles nous aident à ne pas devenir fou ou aigri. J'en ai assez de ces Foires catastrophiques où tout s'accélère : si l'art n'est pas capable de nous attendre, tant pis pour lui... Je n'ai aucune envie de me jeter sur le dernier artiste indien à la mode.
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vendredi 4 novembre 2011
Mumbai Journal: A City of Culture?
Source The Wall Street Journal by Nayantara Kilachand
Mumbai desperately needs a second major performing arts center or museum in the suburbs, and those who carp that space is a problem need only consider the proposal for the F1 track to realize that we do in fact have plenty to spare. How about a developer turns a defunct mill property into a performing arts hub instead of a mega-mall? Collectors hesitant to loan their works out frequently blame the museums for not doing better outreach, or for having poor handling procedures and infrastructure. What better way to circumvent this problem than build a museum to your own requirements? “People from Bombay have always been more open to contemporary art,” says one collector and art consultant who in the past has loaned works to the NGMA. “But where is our Devi Foundation?” Where, indeed.
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Nicolas Bourriaud nommé à la tête de l'Ecole des beaux-arts
Source Le Monde par Emmanuelle Lequeux
Nicolas Bourriaud a vécu un temps avec une princesse indienne, et travaillé comme conseiller artistique pour un milliardaire ukrainien ; il est incollable sur la musique, rock popu comme new wave pointue, et ne craint pas de raconter ses orgies hallucinatoires au cassoulet et autres vols de nains de jardin en compagnie du collectif Perpendiculaire, qu'il a fondé dès 1985 avec d'autres joyeux lurons du Maine-et-Loire. A 46 ans, il est le nouveau directeur de l'Ecole nationale supérieure des beaux-arts (Ensba) de Paris. Nommé lundi 31 octobre sur proposition du ministère de la culture, l'homme qui a créé à Paris le Palais de Tokyo avec Jérôme Sans, en 1999, relève aujourd'hui un nouveau défi. Et ce n'est pas que par la grâce du cassoulet.
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mardi 1 novembre 2011
L'artiste indienne Gauri Gill remporte le prix The Grange
Source CNW
Au terme d'un vote public qui aura duré huit semaines, le Musée des beaux-arts de l'Ontario (AGO) et Aéroplan sont fiers d'annoncer que l'artiste Gauri Gill, de Delhi, est la lauréate du prix The Grange 2011. Ce prix, qui est le plus important du genre au Canada assorti d'une bourse de 50 000 $ et qui s'accompagne, pour chaque finaliste, d'une somme de 5 000 $ et d'un programme en résidence international, est la plus grande distinction artistique canadienne dont le gagnant est choisi par le public. Photographe indienne née en 1970 et installée à Delhi, en Inde, Gill a notamment étudié pendant une décennie les membres de communautés marginalisées au Rajasthan.
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Archives revue de presse
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2011
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novembre
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- Occupying the Art World: Fred Forest Visits NYC
- Masters and the economics of art
- They are like this Warli
- Sans titre
- Gritty Indian art-house film Gangor sweeps awards ...
- L'art contemporain indien
- Gloom in economy spurs boom in art market
- > site web Hervé Perdriolle Galerie en appartement...
- Via India to Israel: The Migrations of the Bnei Me...
- Indra’s Cloud
- L'art indien mis en lumière à la galerie du Jour
- "Une oeuvre est comme un chien, elle ne trahit pas"
- Mumbai Journal: A City of Culture?
- Nicolas Bourriaud nommé à la tête de l'Ecole des b...
- L'artiste indienne Gauri Gill remporte le prix The...
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novembre
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