mercredi 30 novembre 2016

Why the Indian antiquities market is important to Contemporary art

Source Vogue India by Rosalyn DMello
Interestingly, eschewing the outmoded white cube model, institutions are electing instead to stage works within a framework that strengthens the connection between the region’s artistic past and present. At the Dr Bhau Daji Lad City Museum in Mumbai, for example, a series titled Engaging Traditions has invited artists, such as Atul Dodiya, Jitish Kallat, Sudarshan Shetty and Tallur LN to respond to the museum’s architecture and archives. At the Kochi-Muziris Biennale, a similar commitment to challenging linear notions of time permeates through every edition. South Asian artists, both home and away, continue to look to the region’s past to navigate their own journey.
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Earth songs: Exploring tribal art

Source Times of India by Uma Nair
Researching the archives at the Lalit Kala Akademi is an experience of great learning and involves unending explorations about art as well as artists and their techniques. Secretary Dr. Sudhakar Sharma wanted this show of tribal and folk art curated and ready to be unveiled as an archival collection. Earth Songs the show of 70 paintings and 10 sculptures unraveled as an aperture of multiple odysseys over time. India’s narrative dipped in the vernacular is based off a core idea of humility and love for nature. The work of the tribals carries traditions and narrative allusions that weave unique qualities of their lives and takes measure of subtle references and details from an ecological system in order to tell so many stories within their limited space. This collection that ranges from 1978-2015 stands apart for its ecological echo.
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mardi 29 novembre 2016

Announcing selected artists for the 2017 Pernod Ricard Fellowship

Source E-flux
The Pernod Ricard Fellowship is conceived as a research and artistic platform, experimenting with non-linear models of generating and distributing knowledge to encourage different possible connections between researchers, contemporary artists, cultural institutions, non-profit organizations and the general public. Pernod Ricard and Villa Vassilieff are delighted to announce the four selected artists for the 2017 Pernod Ricard Fellowship. Sami Das will investigate the visual vocabulary of Indian modern art in resonance with Paris as world cultural capital, attempting to reassess the idea of modernism in India and the role of Western art, with a special focus on the numerous Indian artists who visited and stayed in France.
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A window to native cultures

Source The Hindu
The paintings and sculptures on display at Shrishti, at first glance to an art novice, might seem like generic figurines and drawings one brackets under tribal art. Tribal art it is, but those created by master artists who emerged from these regions. Their work speaks volumes of their technique and provides a window into native cultures.
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Bhupen Khakhar’s ‘Man In Pub’ Lives up to Pre-Auction Expectations

Source Blouin Art Info by Archana Khare-Ghose
The year 2016 will be worth remembering for the special focus that it bestowed on the art of Indian modernist, Bhupen Khakhar (1934-2003). Long recognised within the fraternity as one of the important modernists of India, who charted a new, bold territory with his unconventional, unschooled art — that continues to defy all attempts to pigeonhole it into any movement, any category, any style — Khakhar scaled newer peaks of fame this year. In the wake of two seminal retrospectives — at the recently-concluded Tate Modern, London, and the ongoing one at Deutsche Bank KunstHalle, Berlin — his canvas “Man In Pub” has become the proverbial cherry on the icing by becoming one of the most expensive lots of Modern & Contemporary South Asian Art sold at an auction this calendar year.
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Saffronart’s ‘Ties That Bind’ Auction on Nov 30-Dec 1 is Truly South Asian

Source Blouin Art Info by Archana Khare-Ghose
Most auctions of South Asian Modern & Contemporary Art broadly mean Indian art with only a nodding acknowledgement of art from Pakistan, and hardly anything from any of the countries that make up South Asia. However, Saffronart’s upcoming auction, “The Ties That Bind: South Asian Modern & Contemporary Art” on Nov 30 - Dec 1 not only has big presence of art by Pakistani artists but also takes a deep look south of the subcontinent and puts focus on the art from Sri Lanka. Works by leading artists from the island nation — George Keyt, Pala Pothupithiye and Senaka Senanayake — make up one of the highlights that make it an excellently curated auction.
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mercredi 16 novembre 2016

Deidi von Schaewen, Femmes peintres du Hazaribagh

Source L'Oeil de la Photographie
Une tradition multi-millénaire, qui remonte à l’âge rupestre, est en train de s’éteindre peu à peu, dans l’indifférence générale. Celle des murs peints par les femmes des tribus du Hazaribagh, une région du Nord-Est de l’Inde dont le nom signifie « mille jardins ». Inlassablement, moussons après moussons, les femmes repeignent les murs des maisons des villages, à partir de pigments naturels, longuement travaillés avant d’être appliqués. Les scènes colorées sont élaborées pour les fêtes d’après la moisson (le style Sohrai). Celles en noir et blanc sont réservées aux mariages (le style Khovar). Jusqu’au 27 novembre 2016 ENSA Paris-Malaquais, Espace Callot 1 rue Jacques Callot 75006 Paris
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jeudi 10 novembre 2016

A conversation with Raqs Media Collective

Source Ocula by Srinivas Aditya Mopidevi
The 11th edition of the Shanghai Biennale (SHB 11) opens to the public on 12 November 2016 under the chief curatorship of the New Delhi-based Raqs Media Collective. Anchored by the idea of biennale making as a form of posing questions, the SHB 11 is titled Why Not Ask Again: Arguments, Counter-arguments, and Stories. In this Ocula Conversation Srinivas Aditya Mopidevi speaks to members of Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) on the relevance of engaging with the biennale form today, and their specific plans for the SHB 11.
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mardi 8 novembre 2016

Today art is about production, not creation: Curator Uma Nair

Source Business Standard
Questioning what contemporary artists are doing for society, prominent curator Uma Nair has said that they are concentrating on producing art and not creating it. "What is happening today is production, not creation, of art. People like Alphonse Mucha and Pablo Picasso would find their own stone and material and create their works with their own hands," Nair told IANS. "I feel that contemporary artists don't want to draw. Suddenly, everybody has gotten into this thing of fabrication. You don't know who did the fabrication for you. You never give credit to the person who has created your sculpture, but you say that this is your sculpture when you haven't even touched it with your hand," she added. To that extent "Earth Songs", a tribal art and sculpture show curated by Nair that is on at Lalit Kala Akademi till November 15 is an attempt at course-correction. The exhibition will travel to many cities after Delhi. "The show needs to travel for people to realise that India's marginalised population has so much talent. Galleries also need to look at tribal art and not just elitest works by those who are earning millions. They are earning it for themselves; what are they doing for the art world?" she asked.
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Lalit Kala Akademi Unveils Folk & Tribal Art Collection

Source Blouin Art Info by Archana Khare Ghose
At a time when India’s indigenous art — referred to as folk and tribal art in popular jargon — is gaining wider recognition and acceptability, even on the international auction platform, the Lalit Kala Akademi (LKA) has opened its rich reservoir of this genre of art in an exhibition, titled 'Earth Songs'. Curated by art critic and writer Uma Nair, it is on view through November 15, 2016. 'Earth Songs' features 66 paintings and a few sculptures that have been created at the art camps held by the country's premier visual arts academy, the Lalit Kala Akademi, over the past three years.
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Artist's attempt at reviving the age-old pichvai painting

Source The Indian Express by Arya P. Dinesh
or THIS Udaipur-based fashion designer-turned-artist, engagement with art began at home. When I meet her, Pooja Singhal tells me that following her mother’s interest in pichvai—a hand painting tradition from Rajasthan with spiritual undertones—was the most natural thing. With barely 40 days to go for the Biennale, Singhal’s seven-year-old atelier is putting together an installation giving a contemporary avatar to this dying art. Titled Pichvai Tradition & Beyond, her ensemble comprises seasoned artisans who specialise in this art form.
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Quand des street-artistes du monde entier se réunissent à Lyon

Source Les Inrocks par Aurore Cros
A l’origine de l’exposition, deux grands voyageurs, l’un passionné de graffiti, l’autre d’art contemporain : Julien Malland, alias Seth, artiste issu du graffiti et auteur de Kapital : un an de graffiti à Paris et Hervé Perdriolle, spécialiste de l’art mural indien. Pour Julien, l’idée était de “faire intervenir des artistes du monde entier qui utilisent les codes de leurs cultures traditionnelles dans leur travail pour évoquer des problématiques modernes, souvent liées à la globalisation”. C’est lors d’un voyage en Inde que les deux spécialistes de l’art urbain ont eu l’idée de cette exposition. Hervé Perdriolle, qui vécut en Inde à la fin des années 1990, années durant lesquelles il s’intéresse à des artistes issus de cultures populaires tribales, dit apprécier cette “diversité culturelle dans l’art urbain, qui se nourrit d’un dialogue avec les cultures locales de chaque pays”.
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Not my grandfather’s Kerala

Source Condé Nast Traveller by Manju Sara Rajan
the Kochi-Muziris Biennale (KMB) (website), the third edition of which begins this December, in Fort Kochi. Malayalis don’t consider themselves contemporary art connoisseurs. Nevertheless many successful Indian contemporary artists have risen from Kerala and its art colleges. Six years ago, a minister of the state government goaded Mumbai-based artists Riyas Komu and Bose Krishnamachari to use their success to do something for their home state. It is a common and effective refrain; most Malayalis would heed a call for the homeland. Begun in December 2012, the Kerala government-supported event has grown into the region’s largest art exhibition, drawing almost a million in audience and some of the world’s best artists. The nearly four-month-long 2016 edition, curated by Sudarshan Shetty, will feature more than 90 international names working with all sorts of media, from modern art to dance and poetry. But perhaps the most important takeaway from the Biennale is simply that it can be done. In Kerala.
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Many Indians in one man

Source The Pioneer
Curator Dr Jyotindra Jain views art as a process that could initiate a conversation. He speaks to S.S. Balan on how being contemporary is a natural reaction to a creative environment. On his attempts to make art a process that can initiate a conversation, he says that the works of village artistes are at times autobiographical. “Hence, their creation becomes a personal process, imbued with a lot of originality. A village artisan does reflect contemporary art. Traditional art becomes contemporary, when you have the freedom to experiment. For example, Madhubani artistes in the initial years had the opportunity to paint solely on walls or as part of wedding or religious ceremonies. When they were exposed to alternative canvases like textiles, the said constraint disappeared with amazing results,” he elaborates. He avers that individualism comes with modernity and democracy….rather individual subjectivity is modernity. Being contemporary is the way traditional artistes naturally respond to a creative environment: “It’s like a live, responsible process. And it’s a language that comes from the contemporary environment. It eliminates barriers. There is an explosion of creativity that creates an opportunity for the public to see art forms, which are not repetitive or mechanical in nature.”
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dimanche 6 novembre 2016

Exchange offer

Source Mid-Day by Benita Fernando
Mumbai’s Chatterjee and Lal and New York’s Aicon Gallery talk to us about their upcoming gallery swap and why it’s a refreshing change from art fairs. The concept of the gallery swap has been around for some time now but not one that has found too many takers world over. So, what’s in it for galleries that do sign up for a swap? “Presenting an exhibition this way, we can really set down roots in a new city,” says Chatterjee. Aicon Gallery’s two-week-long exhibition, titled Delicate Bond of Steel, opens on November 9 at Chatterjee and Lal; in turn, the Colaba gallery will present a show at Aicon Gallery slated for 2017.
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Hazaribag's tribal wall art at Paris exhibition

Source Times of India by Jaideep Deogharia
"The Paris exhibition is an amalgamation of age old tribal art and modern photography in which Deidi has highlighted the mud houses of Sanskriti and some of the remote villages as well in real scale," Imam said. The exhibition that began on October 6 is concluding on November 26 and has witnessed a huge footfall including some of the world famous art lovers. On Tuesday Jean Hubert Martin, leading art historian and curator of international exhibitions would be attending the exhibition to participate in a debate titled "Women painters of Hazaribag, painted houses in India and Africa a living tradition".
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