Top 10 : artistes indiens

Source Art Market Insight par Artprice
L'Inde en est à ses balbutiements en tant que place de marché pour l'art, mais son vivier d'artistes d'excellence et son important potentiel d'acheteurs sont surveillés de près par les grands acteurs du monde de l'art depuis une vingtaine d'années déjà. Christie's prévoit notamment d'ouvrir sa 12ème salle de ventes à Bombay, certainement courant décembre 2013, en centrant l'activité de cette salle sur l'art indien. Cette implantation fait partie d'une stratégie de développement et de valorisation des signatures modernes et contemporaines indiennes, initiée en 1995 à Londres (première vente d'art contemporain indien à Londres).
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Le centenaire du cinéma indien en 21 films inédits

Source RFI par Siegfried Forster
On connaît les réactions que les premiers films des frères Lumières avaient suscitées en 1895 à Paris : un public terrifié qui a poussé des cris et s’est précipité vers l’arrière de la salle. Quelle était la réaction en Inde après la première projection d’un film indien ? À la différence de la première en France, il y a en fait très peu d’éléments pour savoir quelle était la première réaction du public en Inde. Dans les journaux, l’événement est relaté comme un événement majeur, comme une surprise. Ce sont les mêmes émotions de stupeur, de peur etc., mais aussi d’enthousiasme.
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A secular collage

Source The Hindu by Lise Mckean
The exhibition — The Sahmat Collective: Art and Activism in India Since 1989 — was in Chicago from February until early June and travels to museums at the University of North Carolina and then the University of California at Los Angeles. The first image in the exhibition is ‘Safdar Hashmi’s Funeral Procession (1989)’, a large black and white print of a photograph taken by Ram Rahman. The photo shows Hashmi’s corpse covered with a hammer-and-sickle flag and surrounded by a packed procession of mourners. Thirty-four-year-old Hashmi was assassinated while leading a pro-labour street theatre performance in an industrial area outside Delhi. His family, friends, and fellow travellers formed Sahmat (Safdar Hashmi Memorial Trust) in the aftermath of this unprecedented onslaught on artist-activists.
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Raghuram Rajan, banquier central et super-héros des Indiens

Source Le Monde par Julien Bouissou
D'où vient cette immense ferveur dont bénéficie Raghuram Rajan, le nouveau gouverneur de la banque centrale indienne, la Reserve Bank of India (RBI) ? En à peine une demi-heure, le temps d'un discours le jour de sa prise de fonctions, le 4 septembre, il a rassuré les marchés et stoppé la chute de la roupie. C'est une prédiction qui va rendre célèbre Raghuram Rajan. Lors d'un discours tenu à l'occasion d'une cérémonie d'hommage à Alan Greenspan en2005, alors président sur le départ de la Réserve fédérale américaine, Raghuram Rajan met en garde contre les risques que les produits financiers complexes font peser sur la stabilité financière internationale. Ces remarques lui valent à l'époque les moqueries de l'ex- secrétaire au Trésor Lawrence Summers.
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Stunning gilt bronze figures soar past estimates at Bonhams New York sale

Source Art Daily
The auction's top lot was a seated bronze figure of Marichi, a goddess whose name means "ray of light," cast in 18th century Qing Dynasty China. Coming from a private Canadian collection, the transcendent sculpture reached a stunning $254,500 after a lengthy bidding war, more than eight times its pre-auction estimate. Another Chinese example from a private American collection, a delicate Qianlong period standing bronze Buddha, achieved more than 10 times its pre-auction estimate, realizing $158,500. Other sculpture that performed well included a powerful figure of Yama Dhamaraja and Chamundi, or the Lord of Death with his consort, astride a superbly modeled angry buffalo from the 17th/18th century. The frightening trio, who are adorned with skulls and snakes, are together crushing a prostrate human on a lotus platform. Coming from a private Northern California collection, the sculpture sold for a remarkable 20 times its pre-auction estimate, bringing $242,500.
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2014 highlights include UK's largest solo show of work by Indian artist Nasreen Mohamedi

Source Daily Post by Laura Davis
Francesco Manacorda, artistic director, Tate Liverpool said: “I’m extremely proud of the programme we have announced and I’m confident that 2014 will be a fantastic year for Tate Liverpool. The exhibitions are very diverse and explore a range of topics that will inspire the public.” Mohamedi (1937-1990) is considered to be one of the most significant modernist artists. Born in Karachi and raised in Mumbai, she studied art in London and worked in an Parisian atelier in Paris before returning to Mumbai where she mixed with abstractionist artists.
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Ackland exhibit offers another view of India

Source The Herald Sun by Blue Greenberg
The new show at the Ackland Art Museum is not the conventional exhibition with paintings on the wall and sculpture on pedestals. In this show the galleries are full of posters, signs reproduced on burlap, a motorized rickshaw, on-site photographs and lots of videos. This is pop art, that is the art of the people, and it speaks out against injustices in India. This is art by Indians about the freedom of expression in their own country. These are voices against secularism and censorship. n this exhibition we read and see contemporary Indian protest art. Through videos, photographs and original art we witness the records of giant exhibitions of posters and slogans, all-day dance festivals and street theater. This is yet one more part in the story of this giant country and its culture.
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Works by Indian Artists Fetch $3 Million

Source The Wall Street Journal by Saptarishi Dutta
Poetry and artwork by celebrated Indian artists, Rabindranath Tagore, his nephew Abanindranath Tagore and Nandalal Bose went under the hammer at Christie’s auction house in New York Tuesday for around $3 million. Rabindranath Tagore’s handwritten poem ‘Where The Mind Is Without Fear,’ realized $363,750 - a world auction record for the artist. An Asian institution bought the work.
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Indian Documentary Screening

Source Asia Society
The documentary form has been employed in myriad ways to record the ecology of the art field, offering endless potential to create new stories, complicate old ones, and circulate them to an expanded audience. This screening series looks at how documentaries can shape the way histories of art are constructed, remembered, mystified, and debated—within the context of India’s thriving contemporary art scene. Through different genres and traditions of film-making, this two-day program explores how Indian film-makers have looked at the field of contemporary art.
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Indian art goes under the hammer in Sotheby’s auction in New York

Source First Post World by Uttara Choudhury
Although most buyers at these auctions are Indians — usually successful non-resident Indian entrepreneurs, hedge fund managers or Masters of the Universe — there’s growing interest among non-Indian collectors. Investing in Indian art has proved as profitable as the stock market — or more so. Prices for modern Indian art tripled across the board in 2006 before a shakeout during the 2008 financial Armageddon.
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Francis Newton Souza : théorie de la relativité et prix records !

Plus de 100 dessins de Francis Newton Souza (1924-2002) étaient proposés par sa fille, Keren Souza Khon, chez la maison de vente indienne Saffronart ce 11 septembre 2013. Alors que le marché de l'art indien semble, à l'instar de son économie, grippé, cette vente a été d'un dynamisme incroyable attirant l'enthousiasme de nombreux collectionneurs. Les prix de vente ont été de 2 à plus de 10 fois supérieurs aux estimations basses. Un succès qui vient relativiser l'ambiance morose qui accompagne le marché de l'art indien depuis la crise de 2008.
> voir le catalogue de la vente

In the Name of the Father

Source Indian Express by Vandana Kalra
It was years before FN Souza travelled to London to accomplish his dreams. The Progressive Artists Group was yet to be established. Then known as the young Newton from Goa, he headed to Mumbai to fulfil his artistic pursuits. Being suspended from the JJ School of Art for his support of the Quit India Movement did not deter his plans.
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Les forces de l'Inde face au ralentissement de la croissance

Source Les Echos par Raghuram Rajan gouverneur de la Reserve Bank of India
En effet, malgré ses lacunes, le PIB de l'Inde va probablement croître de 5-5,5% cette année – ce qui n’est pas énorme, mais certainement pas mal pour ce qui est se révélera probablement être un plus bas de performance économique. La mousson a été bonne et stimulera la consommation, en particulier dans les zones rurales, qui croissent déjà fortement grâce à des améliorations dans le transport routier et la connectivité des communications. Cela dit, l'Inde pourrait faire mieux – beaucoup mieux. La route vers une économie plus ouverte, compétitive, efficace et humaine sera sûrement cahoteuse au cours des années à venir. Mais, à court terme, il y a beaucoup de fruits mûrs à cueillir. Se débarrasser à la fois de l'euphorie et du désespoir concernant ce qui est dit à propos de l'Inde – ainsi de ce que nous disons de nous-mêmes Indiens – aiderait probablement à nous rapprocher de la vérité.
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Israeli artist explores the supernatural at United Art Fair

Source Business Standard
Do soldiers see supernatural elements while fighting a war? Ayelet Albenda, an Israeli artist who has travelled to India to participate in the upcoming United India Art Fair 2013 here, is also confused about this and attempts through her work to engage viewers in a debate on the supernatural. The artist portrays in her mixed media works Israeli soldiers, who have reported the appearance of "Mother Rachel" inside the Gaza strip, who spoke to them and saved lives in the 2009 war.
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Fairs without dealers could make sense

Source The Art Newspaper by Robert Turnbull
UAF’s artistic director for its second edition is Peter Nagy, the founder of the New York and New Delhi gallery Nature Morte. Partly by breaking away from the dealer model of most sizeable art fairs, Nagy seems determined to establish an alternative way to do business. “Typically, art fairs rent space to galleries but don’t much care what transpires,” Nagy says. “We are looking to create a more organic layout of diverse spaces where the works are mixed up. We want to get away from ‘the boxy booth thing’, so it will be more like a biennale than a fair.”
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What now for India’s contemporary art scene?

Source The Art Newspaper by Bharti Lalwani
In a open letter, written in June, the Indian artist Bharti Kher wrote that it “bothers me as the news from [the] Venice Biennale filters in: pavilions from Angola (population 19.6 million, civil wars 1975 to 2002), Azerbaijan (9.2 million), Tuvalu (population 9,847)… yes smaller than Lajpat Nagar [a Delhi suburb]!... We didn’t bother to make it happen.” Indeed, India’s non-participation at Venice is symptomatic of a larger problem. Not only is there negligible external patronage for contemporary art, the artist Mithu Sen, who lives in New Delhi, says that India’s artist community is fragmented, with most working in isolation. She says: “We should form an artist’s forum that brings a considerable number of people from the art world together. I think that a consolidated body of artists, curators and galleries would allow Indian artists to have a better say in participating in national and international events.”
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The Sahmat Collective: Art and Activism in India since 1989

Source Ackland Art Museum
In 1989, playwright, actor, and activist Safdar Hashmi was fatally attacked by political thugs while performing a street play outside of Delhi. His death led to the founding of Sahmat, a vital platform for contemporary art in India that defends freedom of expression and battles intolerance within the country’s often divisive political landscape. Through a mix of art and ephemera, The Sahmat Collective: Art and Activism in India since 1989 uniquely situates two decades of contemporary Indian art within the political sphere while meditating on art’s capacity as a force for change.
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Parcours des mondes The Leading International Tribal Art Fair

Gallery Frédéric Moisan and Gallery Hervé Perdriolle show:
Jivya Soma Mashe and other painters of the Warli tribe.
Dates: 10 - 15 September 2013
Location: Galerie Frédéric Moisan 72 rue Mazarine 75006 Paris

Come discover the world of the Warli tribe (Maharashtra India) through an exhibition of paintings and a film projection made in the 1980s describing the daily life and the rituals of this tribe which is one of the most renowned of India. Will be exhibited two rare paintings of Jivya Soma Mashe from 1997, large sizes of Balu Dumada, some anonymous works on paper depicting the style of this ancient art when it was exclusively ritual, small sizes of Shantaram Tumbada, the Warli painter who did the wall painting for the urban museum Tony Garnier in Lyon in 1995.

Parcours des mondes Le salon international des arts premiers

La galerie Frédéric Moisan et la galerie Hervé Perdriolle présentent :
Jivya Soma Mashe et autres peintres de la tribu Warli.
Dates : 10 - 15 septembre 2013
Lieu : Galerie Frédéric Moisan 72 rue Mazarine 75006 Paris

Venez découvrir l'univers de la tribu Warli (Maharashtra Inde) à travers une sélection de peintures et la projection d'un film réalisé dans les années 1980 évoquant la vie au quotidien et les rituels de cette tribu parmi les plus renommées de l'Inde. Seront présentées deux rares peintures de Jivya Soma Mashe de 1997, de grands formats de Balu Dumada, des œuvres anonymes sur papier illustrant le style de cet art ancestral lorsque celui-ci était exclusivement rituel, des petits formats de Shantaram Tumbada, peintre Warli ayant conçu un mur peint pour le musée urbain Tony Garnier à Lyon en 1995...

Inde : la nouvelle garde

Source Les Echos par Raghuram Rajan
L’un des premiers domaines à avoir initié ce renouvellement de génération est celui des arts. Pendant de nombreuses années, la littérature indienne a été dominée par une clique écrivant principalement pour un public de niche et la reconnaissance littéraire. Puis, il y a déjà quelques années, un groupe de jeunes écrivains – dont Chetan Bhagat et Amish Tripathi, tous deux anciens banquiers – ont modifié les règles du jeu en écrivant pour le marché de masse. Plutôt que d’écrire pour les critiques littéraires, ils ont commencé à utiliser un langage plus simple, en insérant des tournures de phrase indiennes. Ils ont aussi abordé de nouveaux thèmes : Tripathi a puisé dans la mythologie pour écrire sa trilogie sur la déesse Shiva, tandis que Bhagat s’est intéressé à la vie de la nouvelle classe moyenne indienne, jeune et progressiste. Comme on pouvait s’y attendre, les puristes ont bondi et les critiques les ont ridiculisés. Mais les gens ont acheté leurs livres par millions, et des projets de films ont été signés. Le marché de l’édition s’est donc considérablement élargi et les éditeurs ont été obligés de modifier intégralement leurs stratégies commerciales. Oui, l’économie indienne s’est considérablement ralentie, la roupie s’est effondrée, et les scandales et les manifestations font les gros titres de la presse. Mais au-delà de cette vision négative, une nouvelle génération prend le relais avec de nouvelles idées et de nouvelles perspectives pour l’Inde.
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The Hour of the Day of the Month of the Season: Jitish Kallat exhibits at Galerie Daniel Templon

Source Art Daily
Galerie Daniel Templon is celebrating the new season with the first ever French solo exhibition of work by Indian artist Jitish Kallat a stimulating voice on the contemporary art scene in recent years. Known for his seminal shows such as 'Public Notice 3', his year-long solo exhibition at the Art Institute of Chicago or photographic installations such as Epilogue with its 22,000 moons made of Indian breads, Jitish Kallat will be taking visitors on an evocative journey through the two Galerie Templon spaces with a complex series of works in mixed media: painting, sculpture, text, photography and video.
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Remembering Nasreen

Source Indian Art News by Roobina Karode
Born on 5th September, Teacher’s Day, was incidental to the fact that Nasreen Mohamedi was an extraordinary teacher. Her unique and eccentric presence influenced generations of students at the MSU from 1970s till the late 1980s.How often does one meet a teacher who sensitizes us to the minutest of changes happening around- the presence of breeze, light or movement in Nature as well as built environments? What she taught us in the course on drawing for the two preparatory years was about learning to be alert and attentive to the experiential world around us. Sometimes, we were asked to pick up from our surroundings what we responded to- a stone, a stick, a fragment from an object and draw its qualities through sight, touch, feel and texture while seeking connections beyond isolated objects. While outdoors, we were not learning to compose views of nature as landscapes but were made aware of those poignant details and elements in Nature that one may otherwise not even notice, discover or register. Subsequently, Nasreen also taught us the importance of silent reflection. She was the one who made me aware that the world is too much with us all the time and that it is important to withdraw from it and deeply reflect upon it as well.

These are Buddha's footprints

Source Dawn.com by Alyna Hasan Jaffery
It was the spring of 2012, students flooded in and out of classrooms hunting teachers for assistance with exam preperations and coursework. The ‘curious’ lot, as one of our professor’s aptly put it, was busy taking on extra courses for the last semester of high school. That was when I opted for the art history course and fell in love with it instantly. The romance was short lived – the course only lasted two months. But during those two months, we travelled from Egypt to Mesopotamia, from ancient Greece to the sub-continent, and basically everything in between. It was the course, the animated talks about ancient civilizations and the long hours of research and sifting through reading materials that first prompted me to travel and discover them for myself. My travels took me to the sacred sites at Taxila – a lost land and age, forever reminiscent of a burgeoning cultural heritage.
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Mumbai’s Gallery Chemould Hits 50

Source The wall Street Journal
“It allowed for expansive and ambitious shows and also allows for excitement in the art space,” she added. It wasn’t just Kekoo and Shireen who were active at Chemould. Khorshed Gandhy played helped bring Warli paintings to Bombay’s art scene. The Warli art form was popularized by Jivya Soma Mashe, whose first exhibition at the gallery was in 1975.
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We want to re-connect the present with the past: Hugo Weihe

Source Times of India Interview with International Director of Asian Art, Christie's, New York by Avantika Bhuyan
All art forms are inter-related and evolve over time. For instance, Kalighat painting directly inspired Jamini Roy. Medieval Indian sculpture deeply inspired MF Husain, who was guided by the sense of movement and form. Our goal is to re-connect the present with the past, to demonstrate how artistic tradition is an evolutionary process and showcase Indian art as a continuum.
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