Decoding the Indian art market

Source DNA by Gargi Gupta
For all the limelight surrounding exhibition openings and auction prices, the Indian art market remains difficult to measure. Prices of artworks, for instance, remain shrouded in mystery, leaving auction sales as the only real, quantifiable measure of growth or sentiment. Two recent reports by art-market research firms, one by Delhi-based Artery India and another by Art Tactic, which operates out of London, throws some light in the darkness. While the latter’s reports are part of a regular annual exercise that it has been conducting for the past decade or so, Artery India draws interesting conclusions based on an analysis of the 500 most expensive Indian artworks sold at auctions. A summarised view of the Indian art market the reports present.
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How the Indigenous art recognised by Unesco draws us into Australia's real history

Source The Guardian by Paul Daley
This week the genesis of modern desert Indigenous art movements will receive fitting acknowledgment with the inclusion on the Unesco Australian Memory of the World register of Warlpiri crayon drawings created at Hooker Creek in 1953 and 1954. Anthropologist Mervyn Meggitt lived for 10 months at Hooker Creek (Lajamanu), on Gurindji land, to which the white authorities had forcibly moved the Warlpiri from their traditional country and settlement Yuendumu, hundreds of kilometres away in the Tanami Desert. He enlisted 21 men and three women to do crayon drawings of whatever they chose. The Warlpiri, disconnected from – and desperately homesick for – their traditional lands, drew pictures associated with their country and their dreaming stories.
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After a Decade Painting Signs on Delhi’s Streets, Akhlaq Ahmed Is Breaking into the Art World

Source Artsy by Charlotte Jansen
In early February, when the Delhi-based painter Akhlaq Ahmed unveiled a giant mural at the entrance to India Art Fair, the country’s largest contemporary art event, few among the crowd of international attendees could have guessed what the artist had been through to get there. On Delhi’s streets, Ahmed—who goes by the name Sabbu—is something of a local phenomenon. Since 2004, the artist has painted thousands of signs for food stands and juice sellers around the Indian capital, making him one of the city’s best-known artists—and one of only very few sign painters still practicing the trade.
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Indian Street Art, Women, & Claiming The Right to Public Spaces

Source The Aerogram by Dipti Anand
Once home to stray graffiti and innocuous sentences of love and heartbreak, the busiest New Delhi neighborhoods are seeing a rise in public street art, aimed at the general public for intellectual and interactive consumption. Independently, artists like Daku, Tyler, Ranjit Dahiya, Yantr, Lady Aiko, Axel Void and many others have been leaving their mark with fail-safe yet diverse thematic emblems — from Bollywood icons to mythological figures to political satire to redefined gender roles. St+Art, a leading enterprise for the cause with initiatives in Delhi, Hyderabad and Bangalore, describes its street art projects as a step towards building “an open air gallery accessible to everyone” as well as enabling “artists to listen to, and interpret the city by being agents of its transformation and creating conversations around local stories.”
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La Biennale de Kochi, tout le feu sacré de l'Inde

Source Le Figaro par Valérie Duponchelle
Après le triomphe de sa première édition en 2012, cette biennale indienne réussit à exister autrement que selon les codes de l'art contemporain établis à New York ou Londres. Beaucoup de peintres, beaucoup de fonds chez ces 97 artistes invités à œuvrer, pendant 108 jours, soit jusqu'au 29 mars. Aspinwall House marqua les débuts commerciaux de la Aspinwall & Company Ltd. créée en 1867 par le commerçant anglais John H Aspinwall. Il y négocia huile de noix de coco, poivre, bois, huile de citronnelle, gingembre, curcuma, épices, peaux, puis noix de coco, café, thé et caoutchouc. C'est le point central de la jeune Biennale de Kochi. Bienvenue dans le Kerala, état au sud-ouest de l'Inde qui s'étire sur 900 km, le long de la côte que borde la mer des Laquedives, tout en haut de l'Océan indien. Marqué par son réseau de lagunes et de canaux, il est parfois surnommé «le pays de Dieu» (God's own land).
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Art ranging from $1000 to $8m at India Art Fair 2017, 72 exhibitors showcased

Source Everything Experential
The recognition of India Art Fair’s place and significance, as both aggregator and facilitator, driving the Indian and South Asian art market in a global context, was re-affirmed early in 2016 when MCH Group, the owners of the Art Basel fairs, announced their partnership with India Art Fair, in their first commitment to their new Regional Art Fair initiative. The initiative is designed to bring a portfolio of the world’s leading regional fairs together to mutually benefit from shared knowledge, contacts and regional expertise in order to help each fair realise it’s maximum potential in a global context. In 2018 India Art Fair will mark its 10th anniversary. With MCH Group’s involvement, the fair will progress as a leading face-to-face, and digital platform, supporting galleries and partners with a broader reach throughout the year. Endorsing the results of the fair, here is what a range of some of the most significant collectors and global art world figures said about this edition of India Art Fair and the fair’s future...
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Booklovers and art collectors rush to India

Source Newsweek by John Elliott
MCH Swiss Exhibitions (Basel), headed by Marco Fazzone, plans to invest in about five regional art fairs around the world and will encourage links for them to liaise and expand. The IAF is its first investment and another is expected in Europe soon, plus one more elsewhere maybe later this year. In India, MCH plans to work with galleries to generate contemporary and experimental exhibits at next year’s fair and open up a new and more stimulating horizon.MCH will also be increasing the role of the internet and digital communications. Eventually, the art fair will have an app that will enable, for example, a visitor to access information about a work by focussing on it with a mobile phone. That will generate enormous potential for increasing knowledge as well as for art sales online, which many galleries now say are becoming an increasingly significant part of their business. This year, the organisers and galleries were specially cautious about what was displayed because they were worried that India’s demonetizing banknote ban, which was suddenly imposed by prime minister Narendra Modi early last November, would restrict sales because of the uncertainty about the economy and lack of available cash.
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A Marrakech, quand la bourgeoisie marocaine construit des musées plutôt que des golfs

Source Le Monde par Roxana Azimi
Il y a trois ans, Mohamed Alami Lazraq voyait grand. « Certains doivent se dire que je suis fou, nous avait alors confié le patron du groupe immobilier marocain Alliances, un homme sec et pressé, collectionneur d’art depuis quarante ans. Comme je ne m’imagine pas vendre une seule œuvre, et que je ne peux pas tout exposer dans mes bureaux, j’ai pensé à un musée ». Pas un petit musée: 6 000 m2 consacrés à l’art contemporain africain, construit au carrefour de trois terrains de golf, en face du « resort » Al-Maaden à Marrakech.
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De simple curiosité à véritable institution: l'Outsider Art Fair a 25 ans

Source Hyperallergic by Edward M. Gómez
L'édition 2017 de l'Outsider Art Fair de New York marque le 25e anniversaire de ce qui est devenu, sur le marché de l'art international, l'un des forums d'exposition les plus particuliers, les plus animés et parfois les plus controversés pour des formes artistiques défiant souvent toute classification. Connu dans le monde de l'art sous le nom de "Sandy", Sanford L. Smith se rappelle exactement quand son équipe de production d'événements spéciaux, renommée pour la réussite de ses foires artistiques selon des thèmes spécifiques, a décidé d'en consacrer une au domaine alors émergent de l'art outsider. “La conjoncture dans ce domaine se trouvait à un moment charnière", me dit Smith. La première Outsider Art Fair produite en 1993 par sa compagnie, Sanford L. Smith + Associés, était une excroissance de son populaire Fall Antiques Show. Cette foire aux antiquaires exclusivement américains avait été la première en son genre et présentait aussi des artistes populaires et autodidactes. “C'est Caroline Kerrigan et Colin Smith qui m'ont approché avec l'idée de créer une foire totalement séparée pour mettre en avant la croissance du marché outsider. Je me suis demandé si cela allait marcher. Ils ont élaboré tout ça et nous nous sommes lancés".
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A conversation with Subodh Gupta

Source Ocula by Tess Maunder
Choosing the location was of course a joint decision between my gallery and I. I hadn't done a show in Mumbai in a long time. The first time Nature Morte took me to see the space, despite not being able to fully see it because of all the television sets that were in place, I was immediately excited about it. I always find working with unconventional spaces to be exciting, as the work takes on a life and form of its own in the space. Also, the fact that it was a film studio was also of course very close to my heart. I've always been close to performance, as I started out in street theatre before I became an artist and my work often has a strong performative element. That performative element really came through in a lot of the work in this show, so it was interesting to have it occupying a space that has been created for performances of a different kind.
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India’s women artists may have evolved with time, but have the issues they’re fighting done the same?

Source Your Story by Tarun Mittal
The women of India have been embroiled in a constant struggle against stigmatisation and persecution by society for centuries. All the while, countless attempts have been made to spread awareness about, and ultimately bring to an end, the charge of horrific gender-biased crimes (like sati, dowry harassment, and sexual assault) perpetuated in the name of a misguided notion of ‘culture’ and ‘tradition’. In this article, we go through the history of Indian women artists and the issues they’ve addressed in their work to see what, if anything, has changed in all these years.
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25 ans d'Outsider Art Fair son directeur Andrew Edlin nous parle de l'évolution du marché

Source Art Newspaper par Gabriella Angeleti
Mon oncle Paul Edlin, qui est décédé, était un artiste. Parce qu'il était sourd, il était incapable de plaider lui-même pour son art et restait donc chez lui à créer. Quand j'ai vu ses œuvres, j'ai été très touché et j'ai montré son travail à quelques marchands de SoHo qui m'ont dit que c'était de l'art outsider. On était en 1995 je crois et c'était la première fois que j'entendais ce terme. J'ai finalement rencontré quelqu'un de l'American Primitive et la galerie a organisé en 1996 une exposition de ses œuvres dont 14 ou 15 ont été vendues. Le critique d'art Holland Cotter a écrit un article sur l'exposition pour le New Times et l'oncle Paul, alors âgé de 66 ans, était fou de joie.
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Breathing Life Into India's Arts And Crafts For Future Generations

Source The Huffington Post by Nayantara Sabavala
Our Indian cultural heritage constitutes a rich legacy that needs to be valued. It is vital to realise that art and craft cannot be treated as something elitist and ephemeral. It is instead integral to understanding the diversity and the beauty of our country and engaging with communities. Interventions to preserve and sustain these ancient cultural forms are a mode for not only celebrating the rich traditions of the past, but also learning from them in a way that defines the future. This integration of art with life will ensure that India once again emerges as a great civilisation.
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L'Inde est à Bruxelles

Source 2Ailleurs et Autrement par Molly Mine
Passionné depuis 20 ans par les peintres vernaculaires d'Inde, Hervé Perdriolle mène un excellent travail pour promouvoir cette ligne d'artistes contemporains, outsiders qui, loin de renier leurs sources, les rendent actuelles. Voilà un bel hymne à la différence pour célébrer une façon d'être au monde. Sans doute pour y vivre mieux. Une zen attitude pleine de promesses. Porteuse d'un message très pointu ! L'exposition a lieu à Bruxelles, chez Artcurial.
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Made in India : la nouvelle scène de l’art contemporain indien

Source AMA par Gilles Picard
Rencontre avec un « fou d’Inde », le marchand et collectionneur Hervé Perdriolle. Où il sera question d’ethnocentrisme, de culture vernaculaire, du marché de l’art et de la tribu des Warli… L’Inde est un pays fait d’histoires singulières. On y trouve un art contemporain issu de cultures locales, et puis un art contemporain qui lui s’inscrit dans la culture globale, celle où l’on croise des artistes soutenus aujourd’hui par les grandes galeries internationales, très liés au marché de l’art, cette nébuleuse qui pour moi est un flou tout à la fois artistique et économique. Moi, je pense que la culture est une histoire de complémentarité, de différences qui dialoguent, c’est cette richesse qui m’a toujours passionné depuis le cabinet de curiosités d’André Breton ou le musée imaginaire d’André Malraux. C’est aussi pourquoi la réponse globale ne me satisfait pas. Il y cette phrase de Stuart Davis, quand il peignait les néons des villes américaines, en prélude au Pop art : « L’universel est proposé dans les termes du local. Le grand art cherche dans le lieu commun pour y trouver un sens relié à la vie comme totalité ». Trouver l’universel dans le local, ça, c’est quelque chose qui m’a toujours énormément plus.
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Made in India: the new Indian contemporary-art scene

Source AMA by Gilles Picard
A meeting with “India” lover, art dealer and collector Hervé Perdriolle. With discussion turning around ethnocentrism, vernacular culture, the art market and the Warli tribe… "India is a country composed of singular histories. A place we find contemporary art stemming from the local cultures, and also contemporary art inscribed in the global culture, the type where we come across artists supported by major international galleries today, with close ties to the art market, this nebula which for me is an artistic and economic haze. I myself believe that culture is about complementarity, about differences that dialogue with one another; this is the richness which has always fascinated me ever since André Breton’s cabinet of curiosities or André Malraux’s imaginary museum. This is also why the global response doesn’t satisfy me. Stuart Davis once said something when he painted the neons in American cities as a prelude to Pop Art: “The universal is offered in local terms. Great art looks to the commonplace to find a meaning pertaining to life as a whole.” Finding the universal in the local: this is something that has always pleased me enormously."
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The mystery behind why Bengaluru is covered in stickers of ‘angry Hanuman’

Source Scroll'In
Bengaluru has an undeniable traffic problem. During the hours spent in its standstill traffic, when engines are killed and drivers look around to acknowledge mutual irritation, there is plenty of time to count the saffron and black images of Hanuman pasted proudly on motorbikes and cars. The image, vector-style, is everywhere in Bengaluru and in several other parts of Karnataka. You can see them on public and private vehicles, on watch dials, on T-shirts, as laptop skins and other accessories – and everywhere it feels positively angry, almost confrontational, on the offensive. That is not how it was meant to be seen though, according to Karan Acharya who created the vector-style figure. Acharya, a designer and graphic artist from Kumble village in Kasaragod, the northernmost district in Kerala, said he created the figure in 2015, when boys from a youth club in his village asked him to design something different to put on the flags for Ganesh Chaturthi.
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The India Art Fair promised to champion South Asian art – but did it really?

Source Scroll'In
With the accumulation of experience since 2008, it is imperative for the Art Fair’s administrators to get serious about the usage of terms like South Asia. There is no harm in spending a little more time while undertaking ideational preparation, especially if this means that a more tangible notion of South Asia may emerge, through artworks, artists’ networks, and the overall process of consuming and collecting artworks. Else, South Asia at the Art Fair will be no different from the foggy notion of the region, referred to by bureaucratic humbugs.
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Oubliez les marécages du monde de l'art ce week-end à la foire outsider

Source Observer by Scott Indrisek
Aujourd'hui, une grande partie des Etats-Unis fait la gueule alors qu'un bouffon raciste et insulteur se hisse à la plus haute fonction du pays. Le président élu Donald Trump a fait campagne sur l'ignorance, faisant de son absence complète d'expérience professionnelle un argument de vente. Et si ce genre de chose est désastreux et potentiellement fatal en politique, cela peut être fascinant dans le monde de l'art. Les foires d'art et galeries traditionnelles sont pleines de diplômés trop formés issus des programmes trop coûteux de Maîtrise ès Beaux-Arts; quant à la catégorie disputée de "l'art outsider", qui sonne de façon péjorative, elle a tendance à être un fourre-tout pour autodidactes, amateurs et érudits. Ce n'est toutefois pas une surprise si les œuvres conçues par cette dernière catégorie - loin des lumières de la célébrité et des molles poignées de main - sont souvent plus intéressantes que tout ce qu'un Larry Gagosian peut bien montrer. Et en cette fin de semaine dans l'Amérique de Trump, les New- yorkais ont la chance unique d'admirer certains des plus sauvages exemplaires de cette catégorie lors de la 25e édition de l'Outsider Art Fair, qui se déroule jusqu'au 22 janvier au Metropolitan Pavilion.
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‘N.S. Harsha: Charming Journey’

Source The Japan Times
N.S. Harsha at the Mori Art Museum. As one of India’s leading contemporary artists, N.S. Harsha is well known not only for his participation in international exhibitions, but also for his contribution to local communities through creative projects and workshops for children across the world. Harsha’s works depict daily experiences in Mysore, southern India, where he is based, but also reflect wider cultural, political and economic globalization issues. Visitors can also learn more about Mysore and its culture through the exhibition’s displays of photographs and maps, as well as take part in Harsha’s participatory art projects, which encourage us to reflect on our positions as individuals in a globalized world.
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Art in India: Resist the urge to dumb down

Source Livemint by Mortimer Chatterjee
Ten years ago, Indian contemporary art was a glitzy, raucous beast: a little drunk on its own success, it was threatening to bulldoze the other arts in the public imagination. It had made a mark at a global level with a slew of survey exhibitions that attempted to define the region’s art scene. The Indian financial media began to track the contemporary art market as an alternative asset class, and artists began to appear in the society pages of dailies. Artists and Bollywood stars vied for column inches. How different things look in 2017. For one thing, the art scene is now far leaner. Long starved of speculative money and an accompanying interest from the mainstream media, it has had to make do with picking up scraps of cultural credibility from a global art community that long ago moved its focus from South Asia to greener, more exotic pastures.
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India Art Fair: An Antidote To The Increasing Influence of Auctions

Source The Huffington Post by Anders Petterson
Luckily, the auction figures say little about the actual state of the today's South Asian contemporary art market, which has evolved through new and alternative channels. Since 2009, the region has seen eight new biennials and festivals. These include the Kochi-Muziris Biennale (India), Dhaka Art Summit (Bangladesh), Colombo Art Biennial (Sri Lanka), Pune Biennial (India), and the Serendipity Arts Festival (India), with a further two biennials planned for Lahore and Karachi in 2017. In the absence of government support, private foundations are playing an increasingly active and important role in building an infrastructure for contemporary art and artists. Private museums such as Kiran Nadar Museum of Art (India) and foundations such as the Samdani Art Foundation (Bangladesh), Inlaks Shivdasani Foundation (India), and the Gujral Art Foundation (India) are among these important initiatives. The India Art Fair has and is playing a critical role in the above development, acting as a platform for both commercial galleries as well as not-for-profit initiatives. This year's edition includes the likes of Britto Arts Trust (Bangladesh), Theertha International Artists Collective (Sri Lanka), Kiran Nadar Museum of Art (India) and Swaraj Art Archive (India), presenting and exhibiting alongside commercial galleries.
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Vernacular spectacular: Craft goes mainstream at India Art Fair

Source The times of India by Neelam Raaj
It's pretty rare to see Gond and Madhubani paintings rub noses with the Subodh Guptas and Manjit Bawas. It's even stranger when the setting is the India Art Fair, where commerce takes precedence over culture. Tribal, folk, naive or native art - all labels that art historians now vehemently oppose - is usually to be found in craft museums, trade fairs or Dilli Haat. Most contemporary art shows give it a wide berth. At best, you get the odd work hung in the name of "inclusion". But with the India Art Fair, once considered a scrappy upstart, becoming more confident of its place on the global art map, it's decided to not only represent work from across South Asia but also widen the definition of contemporary Indian art to include vernacular art.
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In its ninth edition, the halls of India Art Fair draw from the global refugee crisis, present-day politics and violence against women

Source The Indian Express by Vandana Kalra, Pallavi Pundir
From being a forum that brings artists from all over the world to the one that will focus on South Asia, India Art Fair (IAF) has changed its course over the nine editions since it debuted in 2008. The transformation was obvious when the four-day event opened on February 2 at NSIC grounds in Okhla. Dominated by artwork from India, followed by Bangladesh, Sri Lanka and Pakistan, the opening had the biggies from the art world in attendance. Among those present were artists Jitish Kallat, Subodh Gupta, Riyas Komu and Tayeba Begum Lipi, curator Shanay Jhaveri, collectors Kiran Nadar, Anupam and Lekha Poddar. Also seen in the aisles were Sheena Wagstaff, the Leonard A. Lauder Chairman for Modern and Contemporary Art at The Metropolitan Museum of Art in New York, and Richard Armstrong, director of the Solomon R Guggenheim Museum in New York. Here are some of the sights and sounds from the IAF.
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L'Outsider Fair a redonné à l'art son importance

Source The New York Times par Roberta Smith
L'Outsider Art Fair de New York, qui s'est ouverte jeudi, célèbre son 25e anniversaire. La foire a fait ses débuts en 1993 dans un immeuble du 19e siècle, le Puck Building, dans le quartier de SoHo. J'ai vu la première édition, couvert la deuxième et écrit maintes fois par la suite sur la foire. J'aime la plupart des foires artistiques pour la densité quasi-marathonienne de leur expérience visuelle et de leur information, mais l'Outsider Art Fair est devenue très vite ma préférée. Elle a redonné ses titres de noblesse à l'art. Distincts des artistes populaires qui évoluent en général au sein d'un milieu familier, les artistes outsiders ont souvent travaillé sans précurseur dans un isolement relatif. Ce sont des personnes ayant un retard dans leur développement, des visionnaires, des internés, des solitaires ou tout simplement des retraités dont le hobby a pris soudain une tournure intense et originale. Le terme a longtemps fait débat et sa signification est devenue élastique et inclusive. Mais peu importe comment le concept était ou est défini, l'Outsider Art Fair est la foire qui, en comparaison avec les autres, paraît la moins prétentieuse, la moins portée sur l'argent, la plus brute, la plus animée et la plus remplie de surprises.
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Anish Kapoor Revisits Joseph Beuys in Trump Protest Work

Source Artnet by Amah-Rose Abrams
Kapoor has re-created the poster for Beuys’ performance work I Like America and America Likes Me (1974). It features a photograph of Kapoor with the title I Like America and America Doesn’t Like Me written in a pseudo Antiqua–Fraktur font commonly associated with Nazi German media. Beuys’ 1974 work saw him wrapped in felt upon arriving at JFK airport in New York, and transported to the René Block Gallery in an ambulance, where he spent the entirety of his three-day stay in a room with only a torch, a cane, a wild coyote, and a felt blanket. The performance is seen as a protest work, as Beuys never really saw any of the US, or technically set foot on American soil. The British-Indian Kapoor, whose mother is Jewish, is no stranger to protest. In 2015 he completed a walk for refugees with Chinese dissident artist Ai Weiwei across London and had a heated dispute with members of the French political class after he refused to remove anti-Semitic graffiti from his work on view at the Palace of Versailles.
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The joyful search for beauty

Source The New Indian Express by Shevlin Sebastian
Lokesh Yadav, a student artist from Chhattisgarh, is going to get a shock. One of Europe’s noted art collectors, the Brussels-based Frédéric de Goldschmidt, has expressed an interest in acquiring his work. “It is an imaginative work,” says Frédéric. The art work, ‘Think About Yourself’, has been displayed at the Students Biennale at Mattancherry. It represents a sheep, in the form of a comb, which is talking into a microphone. “I liked the sense of individuality which is conveyed by this solitary sheep, who wants to be heard by the herd,” says Frédéric. This work, by Yadav, is part of the 465 works by students of 55 art schools from across the country. “I was very impressed by the works of the Indian students,” says Frédéric. “Since they are all studying art, I hope they will be able to make a living out of it.” Interestingly, Frédéric became aware of the Kochi-Muziris Biennale only a couple of months ago. He saw a few photos, on Instagram, and found it interesting. So he decided to come, since he had been invited to the India Art Fair at New Delhi and decided to combine the two events.
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When art meets business

Source The Asian Age by Bose Krishnamachari
It is that time of the year when the art community gathers in New Delhi to attend the India Art Fair. This is its 10th avatar. Exhibition spaces like museums and events like biennales, triennales, Manifesta and Documenta are the bedrock for bleeding edge contemporary art and theory and most works shown here are produced exclusively for the event guided by the vision of a chosen curator or curators. Art fairs are different in that respect. As the name suggests, they are purely fairs where art meets business. Art fairs are occasions for gallerists, dealers, agents and collectors to meet and network. How can art or artists survive without commerce? The India Art Fair has 16 art projects apart from the display booths allotted to galleries, publications and other art world aficionados. This is where you find celebrated artists, collectors, film stars, musicians, designers and gallery enthusiasts, powerhouse gallerists and experimenters.
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Renforcement de l’India Art Fair et du marché indien

Source Art Price
Pour sa 9ème édition, la India art fair de New Delhi (2-5 février 2017) se positionne avec un nouvel investisseur important : le groupe Suisse MCH, notamment propriétaire de la franchise d’Art Basel, la plus puissante foire d’art moderne et contemporain du monde, dont les éditions annuelles se tiennent à Bâle, Hong Kong et Miami. Ce nouveau partenaire de poids pourrait assurer à la India Art Fair un développement à mesure des ambitions du marché indien dans les années à venir… Mais si les projets sont ambitieux, le commerce de l’art manque sur place de soutiens gouvernementaux et plusieurs exposants étrangers ont testé à leurs dépends les lourdeurs administratives douanières et celles les taxes sur l’importation d’oeuvres d’art… notons que cette année, les puissantes galeries occidentales présentent sur le salon lors de précédentes éditions sont aux abonnées absentes: la Lisson, White Cube, Hauser & Wirth, Lelong et Continua ont délaissé New Delhi pour un temps. Le salon indien fait pourtant preuve d’une grande résistance, ayant traversé des périodes tumultueuses puisqu’il fut inauguré, rappelons-le, en 2008, année de la chute de Lehmann brothers, c’est à dire dans une période peu propice aux fondations d’un nouveau grand rendez-vous artistique et marchand.
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