dimanche 29 novembre 2015

The Vernacular at the Asia Pacific Triennial

Source Aboriginal Art Directory by Jeremy Eccles
Venkat Ramen Singh Shyam, talking about the revival of the Gond vernacular traditions in central India in the late 20th Century, surprisingly paid tribute to Australian Aboriginal artist, Djambawa Marawili. He'd travelled to India in the 90s, met up with Venkat's pioneering uncle, Jangarh Singh Shyam, even creating an artwork with him in which the importance of water and its relationship to various totemic animals from either side of the Indian Ocean was put down collaboratively on canvas, a coming-together of tribal cultures. But was it “tribal art”, as it was delimited in India?
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KBF to Co-host Summit on Art Education

Source The New Indian Express
Addressing a growing concern over the state of art schools in the country, the Kochi Biennale Foundation (KBF) will organise the first south zone conference on art education. The three-day conference, titled ‘State of Art Schools: Reality and Prospects’ organised in association with the Foundation for Indian Art Education (FIAE) at Casino Hotel, Willingdon Island, will begin on Thursday.
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WP University Galleries

"Many Visions, Many Versions: Art from Indigenous Communities in India" November 2 - December 11, 2015 Installation View WPU Galleries New Jersey.
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Arpita Singh: The artist of ideas

Source Livemint by Chanpreet Khurana
Singh is interested in getting to the root of violence and speaks of experience and memory as inheritable. “Inherited memory gives you form, not the exact situation which may have been faced by my great-great-great-great ancestor. I may have just inherited the shock or delightfulness of it,” says Singh. Indeed, where the memory of violence is inherited, it is divorced from specific incidents.
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mardi 24 novembre 2015

Bollywood œuvre pour l’unité indienne

Source Le Monde par Julien Bouissou
Les Indiens, qui ont été touchés par de nombreux attentats, adorent les films où se mêlent histoires d’amour à l’eau de rose, chants et danses. Mais au-delà du simple divertissement, les productions de Bollywood questionnent souvent les différences religieuses et les raisons du terrorisme. La force de frappe de Bollywood n’a en tout cas pas échappé aux Etats-Unis : des documents publiés par WikiLeaks en 2010 ont révélé que des diplomates américains avaient le projet d’enrôler des réalisateurs indiens pour lutter, par le cinéma, contre la radicalisation des jeunes musulmans de Londres.
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lundi 23 novembre 2015


Source Paris Match par Elisabeth Couturier
En huit chapitres, via des films, des archives, des mandalas tibétains, des œuvres de plasticiens amis, le visiteur suit le labyrinthe d’une existence placée sous la double influence de la culture pop américaine et du bouddhisme. Un cocktail détonnant qui semble avoir protégé l’artiste des conséquences néfastes de ses excès passés. En ouverture, un portrait sous forme de projection : pieds nus, en costume blanc sur fond noir, Giorno danse sur place. Avec son phrasé syncopé typique, il débite une drôle de litanie intitulée « Thanx 4 Nothing » (merci pour rien), un long poème composé en 2006 à l’occasion de son 70e anniversaire, repris ici, à l’aube de ses 80 ans. Extrait : « Merci d’exploiter mon ego énorme et de faire de moi une vedette pour votre profit… merci pour toutes les saloperies… puissiez-vous fumer un joint avec William… Bob, Jasper, Ugo… que tous mes autres amants innombrables, d’une sexualité fabuleuse et sans limite… puissent-ils tous venir ici pour vous faire l’amour. »
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Andy Warhol, Jackson Pollock, Rothko on rare display in Teheran

Source Press Trust of India
Some of the world’s most expensive and rarely seen modern art, including works by the Americans Jackson Pollock and Andy Warhol, went on display today in a major exhibition in Iran. They are part of a collection bought in the 1970s by dealers acting for Farah, the wife of Shah Mohammad Reza Pahlavi, who fled into exile in 1979, heralding Iran’s Islamic revolution later that year.
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mercredi 18 novembre 2015

lundi 16 novembre 2015

15 young curators selected for Student's Biennale

Source Business Standard
The curators will now travel to art colleges across India and select their students' works before eventually lining them up at a show beginning December next year in Fort Kochi alongside the third edition the country's only Biennale. The curators for the KMB Student's Biennale were selected by a four-member panel, comprising KBF's President Bose Krishnamachari, Director of Programmes Riyas Komu and Consultant (Learning) Meena Vari besides Vidya Shivadas, Director of Foundation for Indian Contemporary Art, the release said. The curators chosen are Faiza Hasan, Aryakrishnan Ramakrishnan, Shruti Ramlingaiah, Rajyashri Goody, Sumithra Sunder, Paribartana Mohanty, Adwait Singh, Vivek Chockalingam, Shatavisha Mustafi, Harshita Bathwal,Naveen Mahantesh,Sarojini Lewis, Ajit Kumar, Lleah Smith and Noman Ammouri, it said. The KMB Student's Biennale is a platform that brings together works of art students from across the country under one roof. Komu said it was "exciting" to see young curators showing interest to take up the responsibility of reviving art in India. "The Student's Biennale not only looks at emerging talent; it also inspires confidence in the new generation of artists," he pointed out.
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lundi 9 novembre 2015

Urban aesthetics of contemporary Indian folk art

Source Hindustan Times by Kanika Sharma
Violence against women, female infanticide and communalism are among the new themes that Indian folk artists are exploring, as they create new contexts for their art and woo urban Indian audiences. Some consider it a new genre altogether - contemporary Indian folk art. “Folk and tribal art have moved beyond mass-producing the same mythological themes and this has led to galleries identifying them as contemporary artists,” says art and cultural historian Jyotindra Jain. “You can map this change back through the past decade. When such forms began to be recognised worldwide, artists began to get a different kind of exposure and some started rethinking their oeuvre altogether.”
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samedi 7 novembre 2015

vendredi 6 novembre 2015

The grande dame of art

Source India Today by Gayatri Jayaraman
For someone who has candidly claimed she remains untutored in art, beginning her collection as a personal enterprise, and extending it into a permanent collection at the museum, it has been a focus that has not come lightly. "I have no formal education in art. There was a feeling of inadequacy; that I should know more so I would read and try to keep abreast of things. That was a self-learning process I had to put myself through to acquire the vocabulary and community of art." The grande dame of the Indian art scene swooped in to save the Kochi-Muziris Biennale last year after the Kerala government, its primary patron, was unable to extend full support. She pitched in with the now ongoing Rs 83-lakh endowment from the CSR budget of husband Shiv Nadar's HCL to support students. "India has many billionaires but few who carry a sense of responsibility," says Bose Krishnamachari, founder and curator of the biennale. Such is her influence that long before her retrospective of Nasreen Mohamedi in 2013 sparked worldwide interest in the artist, prices of her work began to rise. Nadar's Mohamedi show is opening the Metropolitan Museum of Art's new Bruer building.
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mercredi 4 novembre 2015

Contemporary Indigenous and Vernacular Art of India

Source ArtsHub by Chloe Wolifson
QAGOMA Associate Curator of Asian Art, Tarun Nagesh explained that a thread running through this APT examines how the vernacular informs contemporary practice in both subject matter and process. ‘We wanted to acknowledge that in India there’s a huge range of what’s often referred to as folk practices as well as Indigenous practices. We couldn’t cover everything, but have focussed on some traditions and styles that are developing quickly, with artists working experimentally in those practices and transforming them.’ The exhibition will focus on eight traditions or styles, showcasing beliefs, inherited customs and local art practices which have been transformed relatively recently by artists whose expanded world view invokes commentary on contemporary life, social issues and global events.
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