mercredi 28 février 2018

Hemali Bhuta, ou l'exposition comme paysage à ciel ouvert

Source Aware par Marjorie Micucci
Née en 1978 à Mumbai où elle vit et travaille1, l’artiste indienne Hemali Bhuta présente au Centre international d’art et du paysage de Vassivière (Limousin) sa première exposition personnelle en Europe2 : Subarnarekha (La ligne d’or). Le titre double renvoie à une dualité et à une jonction de paysages et de géologies, entre le nord-est de l’Inde où coule vers le golfe du Bengale la rivière Subarnarekha3, qui fut une zone d’exploitation aurifère, et cette région limousine, elle aussi connue pour son activité d’extraction d’or et où ont été créés artificiellement l’île et le lac de Vassivière.
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mardi 27 février 2018

Exposition : Graffitis et art tribal Made in India

Source Marie-Claire par Camille Sanchez
Durant la moisson entre octobre et décembre, avec un chiffon ou une brindille de l’arbre local Sal, ces amatrices d’art célèbrent la fertilité et l’abondance autour du style Sohrai en dessinant des éléphants, des plantes et le dieu mâle de Pashupati sur le dos d’un taureau. Le style Khovar, lui, est un art nuptial. Dans cette société à l’origine matriarcale, le mari passe la nuit de noces dans la maison de sa femme. Le décor est constitué de plantes, et d’animaux de la forêt. Les symboles atypiques comme des losanges ou des coeurs, en passant par des serpents arc-en-ciel et autres créatures animales, ont retenu l’attention de la photographe allemande Deidi von Schaewen.
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dimanche 25 février 2018

Art Organic

Source DNA by Gargi Gupta
Benitha Perciyal is speaking to a journalist at India Art Fair 2018’s Gallery Veda booth, when a passing spectator steps up to her. “You look like a part of that work,” he says, pointing to the sculpture titled I resist, therefore I exist, prominently displayed near the front. “I saw it and knew you were the artist. I was at your show last year at Nature Morte gallery and saw those works. They are exquisite,” he adds, shaking her hand vigorously. Perciyal is moved, clearly. “This,” she says “is what keeps you alive, this is what makes you go to another point (artistically), not the price (of artworks)."
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French Connection...

Source DNA by Gargi Gupta
V Nageshkar was the first Indian artist to travel to France to study art. He spent five years (1930-35) at École Nationale Supérieure des Beaux-Arts, France's premier art school. How this obscure artist, who was born and brought up in Kolhapur, ended up in Paris is not known, but a few of his paintings that survive show a distinct touch of Gauguin. Undoubtedly, it would have been the influence of the intense churn in art-making practices underway in Paris at the time, with several movements such as Post-Impressionism, Expressionism, Fauvism, Dadaism and Cubism jostling for attention.
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Story of the Experimenter

Source DNA by Gargi Gupta
Priyanka Raja of Experimenter is happy. It’s only the second day of India Art Fair, 2018, and the Kolkata-based gallery has sold 80% of its works. “I think we’re in a good place,” she says. That statement could well be extended to apply to Experimenter’s track record over the nine years it has been around. For a young gallery located in the eastern metropolis – once an important arts centre, but now more or less a backwater for contemporary art – and one with a very limited, focused programme, Experimenter has now established itself internationally as a leading purveyor of cutting-edge contemporary art.
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While everyone was fixated on India Art Fair, an anti-art fair stole the show with its energy

Source Scroll In by Chanpreet Khurana
In late January or early February each year, artists, gallerists, curators, art collectors and general visitors interested to see art swoop in on New Delhi. They often come for the India Art Fair, and stay on to attend the multiple collateral events and art exhibitions that run in sync with the fair. This year, a new event positioned itself as an alternative to the art fair. The idea for it was seeded about four months ago, in late 2017, when Anant Ahuja moved from Mumbai to Delhi to start Bridge Studio. In Mumbai, Ahuja had been part of Taxi Fabric, which used taxi seats as a canvas to take art into a very accessible, very public space, and Design Fabric, a platform for dialogue and events.
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vendredi 23 février 2018

New Museum Triennial Looks Great, but Plays It Safe

Source New York Times by Holland Cotter
The New Museum’s fourth triennial exhibition, “Songs for Sabotage,” is the smallest, tightest edition of the show so far. Immaculately installed, it’s also the best looking. Less admirably, it’s the safest. There’s a lot of good work, real discoveries. But in a politically demanding time, the show keeps its voice low, acts as if ambiguity and discretion were automatically virtues. In an era when the market rules, the show puts most of its money on the kind of work — easily displayable things — that art fairs suck up. As if to justify the reference to sabotage in the title, there are examples of activist, or activist-minded art. Anupam Roy from New Delhi, a member of the Communist Party of India (Marxist-Leninist) Liberation, papers a room with Expressionist drawings assailing the reactionary climate in his country today.
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jeudi 22 février 2018

Same, but different: the 10th India Art Fair

Source Ocula by Gayatri Uppal
At Nature Morte, images from Gauri Gill's 'Acts of Appearance' series were on view; first exhibited at documenta 14 in Kassel in 2017. Working with the Bahora crafts community in Maharashtra, Gill commissioned a few families to create masks that reflect their contemporary realities, and photographed these mask makers, and other volunteers from the village community, wearing their creations. This relationship between craft and art practice was also a focus at A Search in Five Directions—an exhibition on textiles presented by the National Handicrafts and Handlooms Museum in collaboration with Devi Art Foundation (21 January–31 March 2018). A tribute to the late Martand Singh, who spearheaded a significant textile revival movement in the 1980s and 1990s, the show references seven 'Visvakarma' exhibitions from that period, which documented traditional textile techniques and worked with weavers and craftspeople to adapt, innovate and evolve these techniques for contemporary times.
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India’s Art Market Is Poised for Liftoff—But Haven’t We Heard This Before?

Source ArtnetNews by Melanie Gerlis
Another sign that India’s art market boom might not be a flash in the pan is the growing number of international museum shows of work by artists from the region. In its first two years, New York’s Met Breuer mounted as many solo shows of Indian artists (Raghubir Singh and Nasreen Mohamedi). In 2016, London’s Tate Modern had a solo show of Bhupen Khakhar, whose work fetched a record £1.1 million at a sale of the late Howard Hodgkin’s collection last year. Closer to home, India’s art traders are bullish about an enthusiastic mass market of potentially younger buyers who are embracing technology at breakneck speed. One of the biggest success stories has been StoryLTD, an online-only, fixed-price, or no-reserve e-commerce offering that Saffronart launched in 2012 as a way to meet the challenges of the global economic recession.
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Highlights From The 2018 India Art Fair

Source Hong Kong Tattler by Aaina Bhargava
The commitment to presenting the highest quality Indian art in respect to country’s history, contemporaneity and future talent, is evident in this year’s India Art Fair. Not to mention the increase in non-profit and public institutions that participated in this year's fair—which was higher than any year before—which continues to and form connections between the artistic community and the public, giving international visitors and those new to the world of Indian art a solid introduction. Through representation from neighbouring South Asian Nations is slightly inadequate, Jagpal’s determination to use the fair as an “opportunity to explore and test ideas to shape the long-term future of India Art Fair, to ensure that it reflects the cultural diversity and distinct identity of the region,” shows promise of expanded regional focus in the future, bolstering the local and international presence of South Asian art.
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mercredi 21 février 2018

7 things we learnt from the 10th India Art Fair

Source Livemint by Rahul Kumar
An art fair is a commercial space, and transactions are important for the key clients of the fair—the galleries. Almost all the galleries I spoke to confirmed that they were satisfied with the business they generated in the 4 days at the fair. Chatterjee & Lal and Jhaveri Contemporary were two returning galleries this year. “We are pleased to have engaged with new collectors at this edition,” said Mortimer Chatterjee of Chatterjee & Lal. Visiting museum personnel and patrons from abroad allowed for increased opportunities for international placement of works of art. “It was heartening to see interest from foreign buyers,” said Rasika Kajaria of Gallery Exhibit-320.
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mardi 20 février 2018

More people are collecting art now than 10 years ago, says Yamini Mehta of Sotheby’s

Source The Indian Express by Vandana Kalra
The Indian art market did probably bottom out a bit in 2009 but what you end up seeing is a filtration process. The works of the modernists and established artists came back much more quickly. There are many more people who are collecting art now than 10 years ago. Wider group of collectors also means more stability. People are not just buying a name, but also educating themselves about the artists. In India, a lot of works are still too inexpensive when you compare to the other markets. Newer groups of artists are being auctioned and getting high prices.
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Rare Raja Ravi Verma works may fetch $400,000-$600,000 at Sotheby's auction

Source Business Standard
Following in the footsteps of Untitled (Damayanti), sold last season for a remarkable price of $1.7 million, Ravi Varma's Tillottama carries a pre-sale estimate of $400-600,000, the organisers said. Painted circa 1896, the luminescent portrait of Tillottama, a celestial nymph from Hindu mythology, is characteristic of the artist's oeuvre; by combining western Academic Realism with markedly Indian subjects, and unexpected combinations of colours, Ravi Varma's works of art remain timeless and uniquely his.
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dimanche 18 février 2018

Of high heels and high art

Source The Hindu by Gayatri Rangachari Shah
Cool sneakers or boots for the day and high heels at night are my uniform for art fairs and this year in Delhi was no different. Wise footwear is critical since, across the world, these fairs are celebrated for their art, and their relentless nights on the town. Last week, the 10th edition of the India Art Fair in Delhi had both in spades. After the MCH Group, which owns Art Basel, purchased a majority stake two years ago, there was considerable anticipation as to what direction the fair would take. Well, its new director, Jagdip Jaspal, who previously worked at the UK’s Tate museum, is committed to showing the best Indian art galleries and stayed true to her word. Many gallerist friends like Priya and Amrita Jhaveri of Jhaveri Contemporary, Mortimer Chatterjee and Tara Lal of Chatterjee & Lal, and Bhavna Kakkar of Latitude 28, who had sat the fair out previously, had returned this year.
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Delhi’s new-look India Art Fair

Source Financial Times by Rachel Spence
Now in its tenth year, the art fair, which was previously known as the India Art Summit, has had its highs and lows. Its inception coincided with the global crash of 2008 that burst India’s financial boom. For a while faith in the art market stayed alive. In 2013, Christie’s even began to hold auctions in Mumbai. But last year, as prices flatlined, Christie’s pulled out, and the fair, which had garnered a reputation for chaotic halls and uneven quality, lost the patronage of leading Indian spaces and the handful of top foreign galleries, such as White Cube and Lisson, who once exhibited. This year however, fresh winds blew. Despite gridlocked traffic and smog-stained skies, the spacious elegant exhibition halls and serene, grey-carpeted piazza made for a mood of serene commercial optimism.
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Change is the only constant: Images that symbolise contemporary experience

Source Sunday Guardian by Bhumika Popli
If there is one exhibition you must see this month, let that be Mutations. Being hosted at Delhi’s 24, Jor Bagh gallery, the photography exhibition is on view till 25 February. This show is a side event of the recently-concluded India Art Fair, and is a part of an ongoing four-month-long cultural programme between India and France called “Bonjour India”. Various techniques and forms of photography are on display at the show. The 16 Indian and French photographers have presented portraits, landscapes, digital montages, collages, mixed-media works, as well as samples of staged and alternative photography.
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Reimagining the idea of India

Source The Tribune by Monica Arora
Considering that art is actually derived from life, should artists create art for art’s sake or should they use the medium to convey a message? Indeed, it is vociferous assertions like Riyas Komu’s art which are echoing the sentiments of the people of the Indian subcontinent and are becoming defenders of our ability to express and live freely. These are voices of dissent, of defiance and non-compliance, of self-belief and upholding values that we, as a democratic, sovereign and secular republic, were promised after the independence from imperial rule. And yet, with the state inflicting several sanctions, prohibitions and dos and don’ts and other cultural restrictions, one discovers the many voices from the art fraternity that have taken the onus of expressing the voice of the people in this suppressive atmosphere.
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mardi 13 février 2018

Anju Dodiya on art, empathy and her latest exhibition, The Air Is A Mill Of Hooks

Source First Post by Manik Sharma
Few contemporary artists in India have the kind of reputation that Anju Dodiya does, given she has a solo exhibition running parallel to the India Art Fair. Fewer still, are as reclusive and self-aware. For those aware of her previous works, the idea of the self is almost a given. Dodiya has been known to explore the idea of pain, the very nature and forms of it. In her 17th solo show, titled ‘The Air is a Mill of Hooks’, Dodiya steps outside the body and examines the space within which Sylvia Plath’s poem ‘Mystic’ — that gives the exhibition its name — was born.
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Christie’s to unveil South Asian modern masterpieces and contemporary art in New York

Source Architectural Digest by Uma Nair
Christie’s upcoming March sale of South Asian Modern + Contemporary Art during the Asian Art Week, New York, includes over 70 lots and is expected to realize in excess of $10 million. The sale features modern masterpieces by celebrated artists such as Sayed Haider Raza, Tyeb Mehta, and Vasudeo S. Gaitonde, alongside works by contemporary artists.
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Refugees, human displacement dominate major Indian art fair

Source New York Daily News by The Associated Press
As you enter the maze, painted panels with portraits of suffering refugees line your path. The sound of crashing waves fills your ears. Light flickers. This is "The Flow," an art installation by New Delhi-based artist Subba Ghosh, a work inspired by the world's ongoing refugee crisis, and the millions of people driven from their homes by conflict and poverty. Human displacement, the suffering of refugees and the notion of identity dominated the 2018 India Art Fair, an important platform for contemporary artists that provides a carefully curated glimpse into the South Asian art scene through the years. The themes are universal, the artistic expressions deeply personal.
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India Art Fair Makes an Unorthodox Demand of Exhibitors—and It Pays Off

Source Artnet News by Skye Arundhati Thomas
Yamini Mehta, Sotheby’s international head for Indian and South Asian art, said this year’s fair comes at a fertile moment in the country’s art market. “A lot of the speculators are now out of the market, and collectors are instead buying with the idea of owning a work for at least a generation,” she said. “This has built stability in the marketplace, whereas before you had works mostly staying in their crates and moving from one warehouse to another for years.”
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India Art Fair 2018: Challenging the male gaze

Source Livemint by Tanuj Kumar and Radhika Iyengar
One of the themes that particularly stood out at the 10th India Art Fair was seen in artworks that explored issues of gender equality and women’s rights. It may not be premeditated, but across galleries there were works that questioned established gender roles, attacked patriarchy or mocked the male gaze. In the post-Weinstein era, some works that were made long ago, assumed a new meaning and interpretation.
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Frame of Thought

Source The Indian Express by Damini Ralleigh
Most of the work, however, was sold on the first day, during a preview for select audience that the gallerists admit have been carefully determined. Many seemed thrilled at the widening of the collectors’ group, stating that during the IAF they were able to establish contact with new buyers. “The audience at IAF has changed dramatically over the last nine years that we have been exhibiting here. The management seems keen to bring a certain kind of audience to benefit the galleries and they have been able to do that cleverly,” says Pratik Raja of Experimenter, who, through the art fair, has sold works to the Kiran Nader Museum of Art and Devi Art Foundation, and some international buyers, “conversations with whom are still afoot”.
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lundi 12 février 2018

Prolongation jusqu'au 15 février


C’est à cette adresse qu’André Breton et les Surréalistes ont créé leur première activité d’édition "Au Sans Pareil" dès 1919. Cette librairie a ensuite été animée par la famille Morin. Gaston, Charles, Jacques et Sylvie Emery-Morin s'y sont succédés. Sylvie Emery-Morin et Julie Emery ont récemment transformé ce lieu mythique en une galerie éphémère. La galerie Hervé Perdriolle y présente une série de petits formats d'art contemporain vernaculaire indien du 30 janvier au 15 février tous les jours de 11h à 20h "Espace Le 102" 102 rue du Cherche-Midi Paris 6.

Artistes : Jean-Daniel Allanche, Benjamin Bonjour, Bhuri Bai, Chano Devi, Yamuna Devi, Raphaël Lonné, Jivya Soma Mashe, Michel Nedjar, Shine Shivan, Jangarh Singh Shyam, Ram Singh Urveti...


Source Verve
Now, Devi Art Foundation, and the National Handicrafts and Handlooms Museum in New Delhi, is hosting the exhibition A Search In Five Directions — organised in memory of Mapu, drawing from his Vishwakarma series. Curated by industry stalwarts Rakesh Thakore, Rta Kapur Chishti and Rahul Jain, the showcase includes creations that amply ‘reflect fresh explorations in technique and aesthetics’. This mammoth initiative is sure to help new viewers discover textures, weaves and dyes of India through several interesting and enlightening exhibits.
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India Art Fair returns to its roots

Source The Art Newspaper by Anna Brady
Not every contemporary gallery is facing an upward climb, however. The nine-year-old Experimenter gallery from Kolkata had a strong start, selling 80% of its booth of work by emerging artists on the first preview day on Friday, including works to the M Woods private museum in Beijing and Delhi’s Kiran Nadar Museum of Art. The architectural works of Indian artist Rathin Barman proved particularly popular—a large painted steel and brass sculpture, Defunct Architectural Space (2018), sold to Delhi’s Devi Art Foundation. Three sets of nine works on paper also sold, including one to a US collector. Gallery director Priyanka Raja, who sits on the fair’s selection committee, says the work that the fair's previous director, Neha Kirpal, put in over recent years is now converting into raising standards.
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Kochi Biennale Foundation honoured

Source New Indian Express
Acknowledging the immense contributions made by the Kochi Biennale Foundation (KBF) towards the development of modern and contemporary art, the Asia Society Centre on Thursday honoured KBF founders Bose Krishnamachari and Riyas Komu with the prestigious Asia Society Asia Arts Game Changers Award 2018 at an event in New Delhi.They were felicitated with the Asia Arts Vanguard award, which acknowledges and celebrates the work of eminent artists whose practice has brought a deeper understanding of the region to the people of Asia and beyond.
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dimanche 11 février 2018

The Great Within: Photographs of India and the British Raj in the 19th Century

Source Sotheby's
Indian photography from the mid-nineteenth to the mid-twentieth century remains ambiguous in history. The Great Within: Photographs of India and the British Raj in the 19th century will feature some of the subcontinent’s earliest photographs created in an era when the subcontinent of India was a wide-open treasure trove for the British Crown. It is hoped that for both the Indian diaspora and for a wider audience this work will gain a wider notice.
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India Art Fair 2018: 10 artworks that will attract your attention from the 10th edition

Source The Indian Express
From the master strokes of prominent artists to the contemporary installations, the India Art Fair (IAF), which began on February 9, offers a heaven for art connoisseurs, exhibitors and art lovers not only from the country but from its neighbours too. Taking place annually at the NSIC ground here, the fair is a reflection of the fast-developing arts scene in the country, offering curated insights into its varied cultural landscapes.
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samedi 10 février 2018

India Art Fair 2018: Celebrating 20 years of Khoj

Source Architectural Digest by Avantika Bhuyan
These days, Khoj studios is gearing up for a very special exhibition. Titled Turn of the Tide: 20/20 Artists for Khoj, the show celebrates 20 years of Khoj’s existence as a significant alternative arts incubation and experimentation space. And to mark this occasion, 20 contemporary artists, who have been a part of the ‘art lab’s journey — through residencies, workshops, exhibitions and community art projects — have come together to present their artworks. These works will then be put up for sale to support the continued work at Khoj.
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India Art Fair: The female artists leading the country's art renaissance

Source CNN by Jagdip Jagpal
The aforementioned Nalini Malani was the subject of a retrospective at the Centre Pompidou in Paris, while Nasreen Mohamedi's influential abstract drawings were recently showcased at The Met Breuer in New York. The younger generation is more likely to explicitly addresses social issues faced by women in the country today. Among them are a number of artists exhibiting at India Art Fair week, including photographer Gauri Gill, whose 2012 exhibition "Transportraits: Women and Mobility in the City," explored women's personal safety on the streets and public transport. But India's female artists are also making a name for themselves through a huge variety of non-gendered topics. One prominent example is "My East is Your West" at the 2015 Venice Biennale, one of the most prestigious art events in the world (and one where the subcontinent has traditionally been under-represented). The exhibition saw Indian artist Shilpa Gupta collaborate with a male artist from Pakistan to reflect on the complex relations between their two countries.
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jeudi 8 février 2018


Source Verve by Suzan Tata
Strolling along the Bandra promenade, you’re bound to spot this artwork that’s on everyone’s radar right now. We Change Each Other, artist Shilpa Gupta’s new light installation, is a thought-provoking creation that delves on questions of unity and amalgamation of cultures. About her latest showcase, Gupta says, “It signifies the inevitable mutation and dispersion that follows when two beings or cultures come into contact with each other. In an increasingly polarising world, this work explores the flux within interpersonal spaces, be it between two people, intergenerational, or those shaped by religious, political or gender divides.” Written in Hindi, Urdu, and English — with the words in each language lighting up at different moments — the work is a tribute to the melting pot of cultures that is Mumbai.
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mercredi 7 février 2018

India Art Fair 2018 to open on February 9

Source Gulf News by Jyoti KalsiSpecial
The Platform section of the fair will support emerging art practices and focus on vernacular arts from the region through the participation of art collectives such as Tribal Art Forms, Delhi Crafts Council, Pichvai Tradition & Beyond, Swaraj Art Archive and Blueprint 12 from Delhi; Britto Art Trust from Dhaka and Kathmandu-based Nepal Arts Council. The fair’s Art Projects, to be presented in a dedicated space this year, include large-scale installations by Indian artists such as G. Ravinder Reddy and Shilpa Gupta; Pakistani artists Imran Qureshi and Zoya Siddiqui; and South Korean artist Timothy Hyunsoo Lee.
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‘We exist because of the Indian art market’

Source The Indian Express by Vandana Kalra
You’re also making efforts to better represent the stories of the Modernists. We usually work with the assumption that there is a lot of information available on the Modernists, and people know them, but that is not necessarily the case. There will also be focus on vernacular art, with participation of Tribal Art Forms and Delhi Crafts Council.
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India’s art market grows, despite demonetisation

Source The Art Newspaper by Anna Brady
According to the market analysis firm ArtTactic’s South Asian Art Market Report 2018, which will be released at IAF, the regional market grew by 13% in the year to 2017; it was worth $223m last year, according to conservative estimates. ArtTactic finds that gallery sales were stronger than auctions in 2017, accounting for $104.5m ($81.1m of which came from Indian galleries), against $48.2m from Indian auction houses. Global auction sales of South Asian art accounted for the remainder.
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mardi 6 février 2018

Indian art’s strong international presence

Source The Hindu by Georgina Maddox
Indian art is having a global moment. Three months ago, eyebrows shot up when Bhupen Khakhar’s De-Luxe Tailors fetched £1.1 million at the Sotheby’s auction in London. In mid 2016, The Met Breuer launched its modern and contemporary art programme with a retrospective of modernist artist Nasreen Mohamedi, while across the Atlantic, Tate Modern in London honoured Khakhar. Closer home, calendar events like the upcoming India Art Fair and the third edition of the Kochi-Muziris Biennale are helping instil confidence in the contemporary art scene and increasing international presence.
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Inside India’s art incubation centres

Source Livemint by Avantika Bhuyan
Miles away, at Delhi’s Khoj studio, which pioneered the idea of incubation spaces way back in 1997, the urban village of Khirkee too serves as a laboratory where contemporary practitioners explore art’s relationship with food, ecology, science, gaming, performance, fashion and sound. For instance, at a recent open studio that was part of the Khoj PEERS Residency, Sahil Naik used Khirkee as an inspiration to create scale-to-size replicas of the nearby landscape, as built in a post-apocalyptic set-up. He sparked an active conversation around the sculpture of a city, which could be located in Khirkee or anywhere else, while also addressing the times we live in, with the dangers of civil war, chemical warfare, terrorism, food shortage and displacement.
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Raiders of the new art

Source Livemint by Bibek Bhattacharya
Shetty is also a musician who seeks to create new instruments and audio technology that would transcend the traditional ideas of both. “Instrument building is the ultimate trans-cross-multidisciplinary discipline,” he says. He created a version of the theremin using the Arduino, an open-source electronic prototyping platform. The theremin, he feels, is a good example of his idea of a trans-disciplinary instrument. “It has an almost esoteric, mystical quality to it, but then it was also caught up in a lot of Cold War intrigue, spying, etc.,” he says.
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"It’s an urgent time": Rithika Merchant on making art in response to social issues

Source Indulge by Jaideep Sen
The mass displacement of people, forced migration, and the dislocation and exile of many groups of people all over the world are very troubling to me. Living in Barcelona I have felt very helpless watching the European refugee crisis unfold right on my doorstep. This body of work deals with the profound effect this had had one me through the role of water in migration. Water and migration go hand in hand for me, largely due to where I live. The mayor of Barcelona installed a digital counter - the "Shame Counter" - which displays the number of known victims who drowned in the Mediterranean in real time. This body of work comes from my own feelings generated by seeing the contrast between my life in this city and what this counter represents.
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Saffronart will Inaugurate Its New Gallery at The Oberoi, New Delhi

Source Blouin Art Info
Saffronart, India’s leading auction house, will be seen returning to The Oberoi, New Delhi, to inaugurate its new gallery, with a preview on February 9, 2018 of its upcoming “​Evening Sale”​ live auction​.
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lundi 5 février 2018

Source Galerie Hervé Perdriolle


C’est à cette adresse qu’André Breton et les Surréalistes ont créé leur première activité d’édition "Au Sans Pareil" dès 1919. Cette librairie a ensuite été animée par la famille Morin. Gaston, Charles, Jacques et Sylvie Emery-Morin s'y sont succédés. Sylvie Emery-Morin et Julie Emery ont récemment transformé ce lieu mythique en une galerie éphémère. La galerie Hervé Perdriolle y présente une série de petits formats d'art contemporain vernaculaire indien du 30 janvier au 15 février tous les jours de 11h à 20h "Espace Le 102" 102 rue du Cherche-Midi Paris 6.

Artistes : Jean-Daniel Allanche, Benjamin Bonjour, Bhuri Bai, Chano Devi, Yamuna Devi, Raphaël Lonné, Jivya Soma Mashe, Michel Nedjar, Shine Shivan, Jangarh Singh Shyam, Ram Singh Urveti...
> voire plus

samedi 3 février 2018

Spitting truth about the PAAN Indian problem

Source Firtspost
Can you differentiate between the paan spit and the so-called contemporary art? No, you can’t because paan spitting is an art. But most people don’t get it and attack this prestigious form of art. The naysayers can try detracting the awesomeness of paan, but they will never succeed because eating paan has many advantages.
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Source OutSmart by Andrew Edmonson
“Kothis (effeminate, underprivileged, homosexual men), Hijras (transgender people), and Giriyas (partners of kothis and hijras) are indigenous terms used by queer working-class and transgender men, in their own dialect, to define their different and particular sexual identities,” Singh wrote of the exhibit on Fotofest’s website. “I made these pictures because this subculture is rarely seen outside of its HIV/AIDS victim narratives.” In Dissent and Desire, Singh dives deeper into the lives of Hijras by capturing them outside the portrait studios, in their homes, and going about their business in the streets of Delhi. In texts accompanying the photos, they share stories of alienation from family, physical abuse, harassment by police, and employment discrimination.
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vendredi 2 février 2018

Radhika and Abhishek Poddar: Curators of cool

Source Livemint by Shoba Narayan
If Bengaluru were an art movement, it could be characterized as the Color Field painting style of Clyfford Still, Barnett Newman and Mark Rothko, with its yearning for transcendence amid chaos. Bengaluru citizens are the same way: not brash like the Dada style of Delhi, or the edgy Cubist style of Mumbai. We are laid-back, restful, thoughtful, simple. The same could be said of Abhishek and Radhika Poddar. The word that Radhika uses the most is “simple”. Abhishek is one of India’s foremost art collectors and the founder of Tasveer art gallery. Formidably knowledgeable about a wide variety of art styles and movements, Abhishek is both generous with acknowledgement of his teachers, and willing to teach interested listeners himself. At his office, he once walked me through a veritable treasure trove of tribal art slides, and gave me a quick diploma course on the topic.
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India Art Fair’s new director Jagdip Jagpal on her vision for the 2018 fair

Source Livemint by adhika Iyengar
Probably a contemporary one, but not modern (and) contemporary. It wouldn’t be as large-scale as the India Art Fair, because I wouldn’t be able to afford such a large-scale event. However, I think it’s really about being able to get the right galleries together. This includes the smaller galleries as well. When you hear about them, you realize that they are so dynamic and creative, and you really do see the amount of effort (they) put into supporting their artists, including representing different types of artists. Because of the projects I had done, I already knew a part of the Indian-South Asian arts community, mainly through the arts and the artists at the not-for-profit side as well as the collectors. So, this is the place to be for me, really.
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S.H. Raza’s early work ‘Ville Provenҫale’ comes to India before its sale

Source Livemint by Tanuj Kumar
Billionaires of the world, unite! An early painting by the towering figure of Indian modern art, Sayed Haider Raza, “secreted away for most of its life”, is coming on the market. A semi-abstract work that was painted in France in 1956, titled Ville Provenҫale, it will be auctioned at Sotheby’s, New York on 19 March as part of the Modern & Contemporary South Asian Art Sale. Before that, it’s going on a tour to drum up interest and will be on display in Delhi on 22-23 February. Yamini Mehta, international head of South Asian art at Sotheby’s, writes on email, “It’s extremely rare for a major work from this period of Raza’s career to appear at auction.”
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Interview: Riyas Komu on political works at India Art Fair 2018

Source Indulge by Jaideep Sen
Riyas Komu's solo exhibition Holy Shiver is a response to a State in deliberate conflict with its founding principles. The title Holy Shiver is a reference to the conceptual strand discussed by Austrian zoologist and ethologist Konrad Lorenz in his book, On Aggression.
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jeudi 1 février 2018

The curious world of Bhajju Shyam

Source The Hindu by Uma Nair
Most of the illustrations I do are inspired by the legends of my tribes. And the filling in of the picture, starting from the edges and going in to the centre is distinctive of the work. So in many ways I’m telling stories through Gond imagery and metaphors. ” Bhajju’s hand is neat— the dots and lithe lines in the tribal paintings give life to the story he creates. His translucent trees full of vigour are like penetrating preachers: “We are keeping a memory alive — of things that are precious to us, like bonding, ceremonies and communication . Our lives have changed because now we live in houses with toilets, ” chuckles Bhajju.
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