CONTEMPORARY ONE WORD SEVERAL WORLDS

samedi 14 mars 2020

One World Through Art: A Review of Modernisms at the Block Museum

Source Newcityart by Chris Miller
Sixty years ago, Abby Weed Grey began traveling to Iran, Turkey and northern India to collect art. A childless, recently widowed St. Paul housewife, she used her late husband’s small fortune to establish a foundation for “the encouragement of art through the assembling of international collections of art for cultural exchange programs.” Such a project may have been inspired by the tours of “New American Paintings” throughout Europe, sponsored by the CIA in the late 1950s. She focused on Middle Eastern artists who were “breaking with the past to cope with the present,” much like modern artists in Europe and America had been doing for half a century. It does not appear that she had any aesthetic or ideological requirements—except that, like the mainstream art world of her day and ours, she must have considered beauty, naturalism and idealism to be outdated relics from another era.
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lundi 9 mars 2020

Home of Warli Adivasi revolt, Talasari’s loyalty to the Left deepens


Source The Indian Express by Kavitha Iyer
There is no memorial at the banyan tree around which the Warli Adivasi Revolt of 1945 began in Talasari taluka’s Zari village. Nearly 5,000 indentured tribals who gathered here from Thane, Vikramgad, Dahanu and Palghar had refused to work on landlords’ fields until they received 12 annas a day in wages, their resistance sowing the first seeds of rights-based movements among the region’s indigenous communities. Today, the younger generation in Zari, 150 km from Mumbai, has no more than a faint acquaintanceship with their ancestors’ historic struggle but a blend of that history and contemporary circumstances keeps Talasari’s adivasis loyal to those who led that revolt, the Communist Party and the All India Kisan Sabha.
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jeudi 5 mars 2020

Delhi: This new show celebrates legendary works by SH Raza and Akbar Padamsee


Source Architectural Digest by Uma Nair
Rare artworks by the masters are not just precious pieces of possession—they are also timeless assets, things that can be cherished for generations to come. Nishad Avari, Specialist, Head of Sale | Associate Vice President, South Asian Modern + Contemporary Art at Christie’s writes in from New York to comment on this epic exhibition at Vadehra Art Gallery: “Two of India’s greatest modern artists, Sayed Haider Raza and Akbar Padamsee always approached their respective practices with deep thought and intense focus, constantly pushing boundaries and innovating their unique visual vocabularies. Till their very last years, both artists continued to paint tirelessly, and are survived by impressive and diverse bodies of work. ”
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mercredi 4 mars 2020

India’s indigenous modernist: Jyoti Bhatt


Source Times of India by Uma Nair
Bhatt’s vast documentation of rural India brought him into the web exploring folk, tribal and rural arts-his stint in photography to document India’s indigenous tribes and arts in its villages brought him close to traditional art, culture and rituals. Traditions in rural rhythms led him into a journey of a lifetime. The imagery drawn from the popular and from tribal and folk juxtaposed with artistic intervention developed over the years became his leitmotif. These symbols of religious, social and cultural importance became a tool to comment on the change and transformation in society. Soft sarcasm and soothing seductive satire aided his narratives. Identity and the hybridisation of the lived everyday idiom became his insignia. At the Bihar Museum in Patna, art lovers regaled over his contours, the expression emanating an enchanting journey of 60 years in printmaking. Happy Birthday Jyoti Bhai.
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mardi 3 mars 2020

In Conversation with Shine Shivan

vendredi 21 février 2020

The champion of Indian art


Source Livemint by Avantika Bhuyan
A new film chronicles Kekoo Gandhy’s role as a central figure on the contemporary art scene. In the 1940s, the showroom of Chemould Frames on Princess Street in Mumbai—a frame-manufacturing business run by a young Kekoo Gandhy—would be abuzz with exchanges on art. European Jewish immigrants such as Walter Langhammer, an Austrian artist—who had come to India to flee the Nazis—would drop in for a chat. This spurred Gandhy’s interest in art and he went on to establish Gallery Chemould, India’s first commercial art gallery, with his wife, Khorshed, in 1963. Gandhy, in the course of time, hosted exhibitions by Bhupen Khakhar, Tyeb Mehta, S. H. Raza, Vivan Sundaram, Nalini Malani, and Atul Dodiya, who are now at the forefront of contemporary art.
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mercredi 19 février 2020

After a Boom and a Bust, the South Asian Art Market Is Finally Maturing


Source Artsy by Payal Uttam
The coronavirus outbreak may be keeping art collectors away from cities such as Hong Kong and Singapore, but it didn’t affect footfall at the India Art Fair (IAF) in New Delhi earlier this month. “I’m sure if people came here they would be very surprised,” said Indonesian collector Tom Tandio while standing in a bustling fair aisle. “A lot of international collectors have the wrong perception about contemporary South Asian art. They think it’s very traditional, but it’s not.” “There has been a big change this year,” said Jagdip Jagpal, the director of IAF, stressing growing international interest in the region. “People come across works by South Asian artists in Europe and the United States, which has piqued their curiosity, so they came to Delhi. There’s really been an impact.” “The art fair is a huge benchmark for how the market is looking,” said Kishore Singh, who heads exhibitions and publications at Delhi Art Gallery. “Today, you can feel a new energy.”
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CPI(M)'s red flag continues to fly in Maharashtra's Talasari

Source Deccan Herald
The twin Thane-Palghar districts have the glorious legacy of the Warli Adivasi Revolt against landlordism that began 75 years ago, in 1945, under the banner of the Communist Party and the All India Kisan Sabha (AIKS). "The legendary leaders of this... > read more

vendredi 14 février 2020

Portrait of the Artist

Source The Indian Express by Parul
“I regret I was not able to archive the contributions of Manjit Bawa, Sohan Qadri, KG Subramanyan and Ghulam Mohammed Sheikh. The smaller towns and rural areas do not have resources or facilities for the study of fine arts, so what do the students do and where do they get the information. Here, we are focussing on archiving the entire spectrum. We have also started documenting artists from Punjab, in Punjabi language, and I believe every state should do this. We must create in our own language and our own thoughts and not on borrowed idioms. The younger generation must be aware of its own art history, starting from folk, classical, modern and then to world art and we hope this documentation will support their passion,” adds Manna.
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How designer Riten Mozumdar shaped modern Indian aesthetics and sensibilities


Source The Indian Express by Benita Fernando
In artist Monika Correa’s sari collection, there was one with block-prints that instantly recalled Rome. It was made using a block designed by Riten Mozumdar, a close friend of Monika and her late husband, architect Charles Correa, in 1961. Mozumdar had seen the Palazzo della Civilta Italiana, also called the Square Colosseum, in Rome, and recreated its rows of arches on a block. With this design, that he called Rome by Night, Mozumdar captured an essence of Roman architecture and distilled the city’s history into a geometric pattern. Mozumdar designed several more saris, and even a kimono, for Correa, using block-printing and calligraphy, long before other Indian artists made it fashionable to paint textiles. Geometric block-print patterns were unheard of in India before that. Correa says, “Riten was the first person to revitalise block-printing post-Independence. There were others but they were traditional, doing the same thing over and over again. Riten was experimenting.” The garment, the block, the maker and the wearer come together in “Imprint”, an ongoing mini retrospective of Mozumdar’s work at Chatterjee & Lal in Mumbai. The exhibition pays homage to this relatively understudied designer, who blurred the lines between art, craft and design.
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jeudi 13 février 2020

Block Museum Of Art At Northwestern University Continues ‘Year Of Global Modernisms’ Exhibition Series


Source Forbes by Chadd Scott
A broader interpretation of Modern art has only recently begun taking hold with museums introducing artists of color, women and artists operating outside of the traditional art capitols into the 100 year story of Modern art they’re telling. The most prominent example of this new direction occurred last fall with New York’s Museum of Modern Art taking advantage of a complete renovation to vastly expand its presentation of works from African-Americans, women and artists around the globe. Similarly, the Block Museum of Art at Northwestern University in Chicago launched its “Year of Global Modernisms” in 2019. This series of exhibits explores the under-recognized innovation and risk-taking in art beyond Europe and North America during the mid-20th century, expanding Western perspectives of Modern art. With nearly 700 artworks, 114 on view in this show, the Abby Weed Grey Collection represents the largest institutional assemblage of modern Iranian and Turkish art outside of Iran and Turkey as well as the most important collection of modern Indian art in an American university museum.
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‘Most people know when I’m bidding’ — Kiran Nadar has big plans for Indian art


Source Christie's by E Jane Dickson
Art should not be locked away,’ says Kiran Nadar, and one imagines vaults the world over springing open at her words. It is clear, within moments of meeting her, that this is a woman who gets things done. ‘It’s true,’ she says, smiling warmly. ‘I am very determined. Building a collection requires a certain focus, and I am very focused on making art part of everyday living in India.’ In only a decade, Nadar has built, from scratch, the first private museum of modern and contemporary art in India, and already the Kiran Nadar Museum of Art (KNMA) in New Delhi has the clout of a national institution. More than 6,000 pieces describe the arc of Indian and South Asian art, from late 19th-century masters such as Raja Ravi Varma, through the modern explosion of the Bombay Progressives, to conceptual, confrontational works by emerging artists.
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lundi 10 février 2020

Footbridge of Memories


Source The Indian Express by Pallavi Chattopadhyay
Honi, a “miracle maker” in Talmud, a Jewish religious text, is waking back from sleep after 70 years in French contemporary artist Gerard Garouste’s mammoth painting Warsaw Bridge and the She-Asses, on display at the National Gallery of Modern Art (NGMA) in Delhi. In the background is the Warsaw Ghetto, the largest Jewish ghetto in Germany-occupied Poland that housed nearly 4,80,000 Jews at one point of time, before sending them to gas chambers and mass killing centres. The canvas speaks volumes to the viewer, as it has a number of captured donkeys hoarded together under a foot over bridge on Chlodna Street, which became a tragic image from World War II and a powerful depiction of the Holocaust.
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KNMA Delhi and STG Moscow present exhibition of contemporary Indian art in Russia


Source India Blooms
The Kiran Nadar Museum of Art (KNMA), The State Tretyakov Gallery (STG) and Indo-Russian Cultural Foundation have joined together to bring for the very first time an exhibition featuring more than sixty cross-generational Indian artists, including leading internationally acclaimed figures alongside emerging, younger generation artists. The exhibition is being curated by Roobina Karode, Director and Chief Curator of the Kiran Nadar Museum of Art in Delhi with Fiana Balakhovskaya and Sergey Fofanov from the Tretyakov Gallery, under leadership of Zelfira Tregulova. The exhibition will feature works by artists including Nalini Malani, Vivan Sundaram, Bhupen Khakhar, Anish Kapoor, Amar Kanwar, G. Ravinder Reddy, Mrinalini Mukherjee, Anita Dube, Shilpa Gupta, Dayanita Singh and Jitish Kallat, among others. An associated programme will be held alongside the exhibition which will feature illustrated talks on the history and development of the Indian art scene since India’s Independence in 1947.
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Rural rhythms


Source The Pioneer by Uma Nair
When I began, my early works were influenced by cubism as well as lighthearted and colourful pop art kind of imagery. It was inspired by traditional Indian folk designs. It was in 1966 that I returned to MSU Baroda with a thorough knowledge of the intaglio process that I had gained at the Pratt Institute at Brooklyn, New York. I found intaglio exciting. The thought that so many prints could be made was a sense of commonality I believed in because I didn’t like the idea of elitist art. This caused friends such as Jeram Patel, Bhupen Khakhar and Gulam Mohammed Sheikh to follow the same process. At the Faculty of Fine Arts in Baroda, we were soon known as “The Baroda School” of Indian art.
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STAYIN’ ALIVE


Source Artforum by Meera Menezes
“WHEN I EAT, I EAT MY OWN DEATH,” proclaimed a pile of bright green stickers, injecting a gloomy note into what otherwise promised to be a livelyopening. However dour, artist Atul Bhalla’s warning was not going to keep me from India International Centre’s famed samosas and a cup of hot tea on a cold winter’s day. Curated by Arshiya Lokhandwala, the site-specific exhibition bore the sanguine title “We Are Still Alive: Strategies in Surviving the Anthropocene.” I spotted the statuesque Shalini Passi, collector and founder of MASH (My Art Shalini, a digital platform that sponsored the project), chatting with Nature Morte’s Peter Nagy before she posed for shutterbugs under Asim Waqif’s crumpled car installation, Collapse analysis: Mayapuri, 2019, which hung from a tree. I then decided to trail Lokhandwala as she shepherded art patrons Tarana Sawhney, Radhika Chopra, and Anupam Poddar around Arunkumar H.G.’sTimeline of Backwash 1, 2020, and Ravi Agarwal’s installation Evening has come with Sangam Dialogue (sound piece), 2016. While Arunkumar’s faux trees set up a lively conversation with their real counterparts on the lawn, Agarwal’s beached boat seemed out of place—perhaps that was the intent.
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vendredi 7 février 2020

Indian bizarre: an art show with a vitality all of its own


Source Brisbane Times by John McDonald
Seen one art fair, seen 'em all? Not when it’s the India Art Fair in New Delhi. Like everything else on the subcontinent the premier commercial art event is very different in character to the fairs one sees in Europe or America, or even Hong Kong. This is largely because of its proudly provincial stance. Seventy per cent of exhibitors are Indian, providing a unique survey of an art scene in which a deep respect for tradition jostles against a burgeoning cosmopolitanism. Perhaps the most daring experiment came from the Crayon Art Gallery, which showed a single painting and a matching oleograph by Raja Ravi Varma (1848-1906), who pioneered the painting of the Hindu legends in a westernised style. To add a touch of theatre the picture and its echo were displayed, spot-lit, in a pitch dark room. I didn’t ask the price. Even if I had been eager to purchase such a work it’s unlikely that I would have been allowed to do so. In the 1970s the Indian government nominated nine artists as “national treasures” whose works would not be permitted to leave India. This policy, intended as a mark of respect, has probably retarded the global recognition of Indian modern art. Imagine if paintings by Monet or Matisse had never been allowed to leave France.
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jeudi 6 février 2020

Looking at 'The Other Side'


Source by Millennium Post
As part of a key Indo-French artistic exchange, a major retrospective exhibition of Gérard Garouste, one of France's leading contemporary artists - opens in the Indian capital, featuring around sixty paintings that span forty years of his artistic creation, from 1980 to 2019. The survey exhibition titled 'Gérard Garouste - The Other Side' is the biggest show of the artist's work outside Europe, and his debut in India. The exhibition is inspired by history's founding texts and combines myth and surrealist imagery. The exhibition will go on till March 29 at NGMA.
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The India Art Fair 2020 Marks Its 12th Edition With Robust Work And Steady Sales


Source Forbes by Ann Binlot
Sales at the fair were steady, and included the Murillo, which went for $350,000 at David Zwirner, which also sold works by Tillmans and Dzama. Vadehra Gallery reported sales ranging from $1,000 to $150,000, while Jhaveri Contemporary sold a work by Anwar Jalal Shemza for $50,000, and another by Monika Correa for $42,000. The 12th edition also marked the fair’s final year at the NSIC Exhibition Grounds before it moves to the new exhibition halls of the Pragati Maidan in New Delhi next year from February 18 to 21.
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mardi 4 février 2020

Road to discovery: Jane & Kito de Boer chat about their love for art before Christie's auction


Source Indulge Express by Joy S
Living between London and Dubai, Kito De Boer and his wife, Jane Gowers, are two of the most well-known international collectors of Indian Art. They have put together a remarkable collection with a broad historical scope and a wide range of artists. The couple began collecting more than 25 years ago when they moved to New Delhi, and have continued their journey as patrons of Indian art and culture since then. Numbering over 1,000 pieces, the collection is one of the largest and most varied collections of Indian art in private hands.
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Largest collection of contemporary Indian art heads to Moscow


Source The Art Newspaper by Kabir Jhala
The largest collection of contemporary Indian art ever to leave the country is heading to the State Tretyakov Gallery in Moscow. The museum will host the exhibition Extension: India (17 June- 6 September), with works by 72 artists including Dayanita Singh and Shilpa Gupta. Several Indian private museums are lending works, with the majority coming from the Kiran Nadar Museum of Art (KNMA), opened in New Delhi in 2010 by the collector and philanthropist Kiran Nadar.
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lundi 3 février 2020

samedi 1 février 2020

Indian art’s decade on Instagram


Source Livemint by Somak Ghoshal
Priyanka Raja, co-founder of the Kolkata-based Experimenter gallery, acknowledges the boon of access that Instagram has brought into the world of Indian art. “The medium can augment the reach of artists immensely and act as a truly democratic platform," she says. From taking viewers on virtual studio visits to showing them the different stages of mounting a show, Instagram can take a wide demographic behind the scenes of the art world. “Members of the press, collectors, viewers and visitors to the city have reached out to us after seeing a post on our Instagram feed," she adds.
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How to Lounge this weekend with the new shows around India Art Fair 2020


Source Livemint
If one aim of art is to provoke us to regard the world with fresh eyes, the Devi Art Foundation’s new show fits the bill spectacularly. Curated by writer and independent publisher S. Anand, drawing on the existing holdings of the foundation and new work made by those working in the industries of Delhi’s Okhla area, Suñatā Samantā: Emptiness Equality offers a unique perspective on contemporary Indian art. Referring to the legacies of B.R. Ambedkar, the Buddha and Kabir, it challenges the binaries of pure and impure, high and low, sublime and banal—leaving the viewer questioning their biases.
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Indian Artist G Ravinder Reddy’s Groundbreaking Sculptures Of Women Shatter Western Ideals Of Beauty


Source Forbes by Ann Binlot
They’re big, bold, beautiful—and brilliant. For over four decades G Ravinder Reddy’s curvy sculptures of the female form have been key figures of India’s contemporary art scene, while the artist himself has evolved into one of South Asia’s biggest artists. The 64-year-old artist currently has an exhibition in New Delhi at Vadehra Gallery, SOMA: The Body as Elixir, a survey of his sculpture spanning from the early ‘80s to the present. In addition, the artist also has work in four booths—Palette Art Gallery, Sakshi Gallery, Emami Art and Vadehra Gallery—at the India Art Fair, which runs through February 2nd.
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jeudi 30 janvier 2020

Delhi: Everything you need to see and experience at the India Art Fair


Source Architectural Digest by Uma Nair
India Art Fair is the leading platform to discover modern and contemporary art from South Asia and, is a portal to the region’s cultural landscape. The event takes place annually in Delhi and draws galleries, artists, private foundations, arts charities, artists’ collectives, and national institutions. Here’s a look at some of the top participating galleries and institutions this year.
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WHAT IT’S LIKE TO HELM SOUTH ASIA’S BIGGEST ART FAIR

Source Verve Magazine by Shraddha Jahagirdar-Saxena
Jagdip Jagpal – festival director of the India Art Fair – on the art that adorns her walls, advice for young aficionados and curating the fair for the third time. Art aficionados, diehard art patrons and art collectors have reason to rejoice – as the 12th edition of the India Art Fair is all set to unveil a spectrum of art from South Asia at the end of this week (January 30-February 2). Since 2018, the fair’s identity has been strengthened, as Jagdip Jagpal, the fair director, points out, ‘to become South Asia’s leading platform for discovering modern and contemporary art.”
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Mumbai Gallery Weekend and India Art Fair go on despite continuing protests


Source The Art Newspaper by Kabir Jhala
Mumbai Gallery Weekend (MGW) opened this month as protests spread across Indian cities, sparked by an attack by right-wing extremists connected to India’s ruling Bharatiya Janata Party (BJP) on the students and staff of Jawaharlal Nehru University in New Delhi. Mumbai was among the affected cities, but MGW’s organisers released a statement via social media saying the event would “continue as planned” and that it “stands with the protesters and students”. The organisers added that it is “imperative to protect artists’ rights to peacefully speak and protest […] given the current situation in the country”, referring to violent clashes between police and protesters during demonstrations that opposed several controversial citizenship laws recently introduced by the Hindu-nationalist BJP. Having taken part in the recent protests, Shireen Gandhy, the director of the Mumbai gallery Chemould Prescott Road, says that expressing dissent is important to her at a time “when free thought and citizenship are being challenged”.
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mercredi 29 janvier 2020

Performance artist, Atiku makes India Art Fair debut


Source The Guardian by Tajudeen Sowole
After taking his art to Europe, Africa and the Americas, performance artist, Jelili Atiku, is set to make his India debut tomorrow. Participating in the talks, performances, films and Artists in Residence section of India Art Fair, which holds from tomorrow, January 30, to February 2, 2020 in New Delhi, Atiku will be sharing his work on social, economic, environment and political commentary with the Indian audience for the first time. Atiku was one of the artists that represented Nigeria at the Venice Biennale of 2017, in Italy, among several of his international events in recent times. The India Art Fair is described as South Asia’s leading platform to discover art from the region and one of India’s largest commercial art events. The showcase includes, 75 exhibitors, spanning 20 different global cities with 14 in India.
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Asia Society Triennial to Feature over 40 Artists from 19 Countries


Source Asia Society
New York, January 29, 2020—Asia Society announced today that over 40 artists and collectives from 19 countries have been selected to participate in the inaugural Asia Society Triennial, a multi-venue festival of art, ideas, and innovation. Titled We Do Not Dream Alone, the exhibition opens to the public on June 5, 2020 at Asia Society Museum, as well as multiple locations throughout New York City. The exhibition is cocurated by Boon Hui Tan, Vice President of Global Artistic Programs and Director of Asia Society Museum, and Artistic Director of the Triennial, and Michelle Yun, Senior Curator of Asian Contemporary Art and Associate Director of the Triennial. The artists and collectives chosen for the Asia Society Triennial work across a variety of disciplines including painting, sculpture, photography, video, fiber art, and performance. They represent countries across Asia and the Asian diaspora, and bring together a spectacularly diverse range of works and viewpoints. Nearly half of the artists have been commissioned to create new work; many of these works are site-specific.
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Mud Walls to Museums: 93-YO’s Madhubani Paintings Stun All, Bags Padma Shri


Source The Better India by Gopi Karelia
Godawari Dutta faced the loss of a father when she was barely 10, was married off at an age when she should have been going to school, and later saw abandonment by the same husband who robbed her of her childhood. Yet, she never let her innate innocence and the will to fight die. She kept moving forward, using the skills of an ancient art she imbibed from her mother and reached the height of validation when she received the 2019 Padma Shri—India’s fourth-highest civilian award for her contributions in preserving the traditional art form of Madhubani and taking it to the world stage.
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lundi 27 janvier 2020

Marcel Dzama is inspired by Bollywood in a new series of paintings

Source GQ India by Nidhi Gupta
Marcel Dzama does not like to kiss and tell. The renowned artist who hails from Winnipeg, Canada and lives and works out of New York City, has fans in high places. Brad Pitt, for one, has bought some of his artwork. Jim Carrey, Nicolas Cage and film director Gus Van Sant too invested early, right after a solo show at LA’s Richard Heller Gallery put Dzama on the map. While he’s unwilling to let on who his newest high-profile fan is – he apologises – it’s some consolation that he will be here, in person, painting a wall of the David Zwirner booth at India Art Fair, New Delhi next week.
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Of the picture worth a thousand words


Source The New Indian Express by Angela Paljor
If you have ever been to the Jaipur Literature festival, you will know that it is not just about literature. It is also about live art. We met with Bhajju Shyam, who is working on an artwork around the animal kingdom. Born in 1971 in the Gond village of Patangarh, Shyam left his studies after completing his tenth standard due to financial constraints, and travelled to Bhopal when he was just 16. “I came to Bhopal searching for work and worked as a watchman for three months and later worked along with electricians, laying down pipes. I met with my guru Jangarh Singh Shyam and started working as his apprentice. Getting work and food to eat was more than sufficient for me at that time, so I started working with guru-ji,” said Shyam, who today is a well-known Gond artist with his works exhibited all over the world.
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dimanche 26 janvier 2020

Artist Sudipta Das’s doll-like sculptures share the trauma of the displaced


Source Indian Express by Vandana Kalra
Even as her hometown Silchar burns with protests against CAA, artist Sudipta Das is revisiting memories of the displacement that she recalls from her childhood — when flooding of the Barak river during the rains meant that people left their homes only to come back later, when the water receded. “This year, when I saw flooding in Baroda, I was reminded of the time when the ground floor of the homes in Silchar would be submerged in water. We would be rescued by boats, stay in temporary spaces. In the exhibition I have depicted that impermanence,” says Das, introducing the works that comprise the exhibition “The Exodus of Eternal Wanderers”.
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samedi 25 janvier 2020

New Delhi, Mumbai, Kolkata: Shows to See


Ocula Magazine by Kanika Anand
For India, 2020 began amidst nationwide protests against the ruling government for asserting seemingly Hindu-majoritarian laws and violently quelling dissent. The protests are linked to the controversial amendment to the Citizenship Act passed on 11 December 2019, permitting people facing religious persecution from Pakistan, Afghanistan, and Bangladesh belonging to Hindu, Sikh, Buddhist, Jain, Parsi, or Christian communities in residence in India to apply for fast-track citizenship. The Act comes after the recent completion of a National Register of Citizens in the northeastern state of Assam in 2015, that rendered almost 2 million people illegal, resulting in the relocation of many to detention camps, with the deliberate absence of India's second most populous faith, Islam, in this list interpreted as contradictory to the secular fabric of the country and its founding constitution. In the run-up to the twelfth edition of the India Art Fair, from 30 January to 2 February 2020, the makings and markers of the subcontinent are once agair>n brought into focus, with a renewed understanding of the complexities and precarity of the contemporary moment.
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vendredi 24 janvier 2020

Àbadakone | Feu continuel | Continuous Fire


Source Musée des Beaux-Arts du Canada
Àbadakone | Feu continuel | Continuous Fire, seconde exposition internationale de la série de présentations d’art contemporain indigène organisée par le Musée des beaux-arts du Canada, permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l’activation et de l’interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l’art indigène de presque tous les continents. L’exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d’experts du monde entier.
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Àbadakone | Continuous Fire | Feu continuel


Source E-Flux
Àbadakone | Continuous Fire | Feu continuel, an exhibition of contemporary international Indigenous art at the National Gallery of Canada, offers a unique opportunity to see works by more than 70 artists identifying with approximately 40 Indigenous Nations, ethnicities, and tribal affiliations from at least 16 countries including Australia, Canada, Guatemala, India, New Zealand, Nigeria, Norway, Russia, South Africa, and the United States. The exhibition features a selection of recent creations in a wide range of media, from beadwork to performance art, as well as commissioned installations in the Gallery’s public spaces. Through their work, the artists explore current global issues, challenge ideas about identity and history, and create relationships and communities across boundaries that inform, reform and transform our understanding of our place in the world.
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jeudi 23 janvier 2020

Madhvi Parekh Explores the Art of Self-Expression


Source Indian Art Fair
With no formal education in art, Madhvi Parekh’s work evolved from childhood memories, popular folk stories and legends of her village in Gujarat. Inspired by artists such as Paul Klee and Joan Miró, Parekh’s watercolours unfold like a story. “Art is within everyone, but the challenge lies in expressing oneself,” says Parekh. The artist believes that “painting is a way of expressing my innermost self’. Heavily influenced by nature and her interaction with it, Parekh’s work is largely about her village in Gujarat, which has “all four seasons.” Parekh tries to replicate the colours she sees around her – but believes that “nature has its own colours”, which “cannot be replicated in paint”. In this video, Madhvi Parekh guides us through her creative process – including how to deal with criticism.
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Delhi: Saffronart celebrates a late, legendary artist who was an inspiration for an entire abstract movement


Source Architectural Digest by Uma Nair
Swaminathan the thinker, critic, founding father who discovered the tribal richness of India’s indigenous arts also set up Bharat Bhavan, and was the forerunner and inspiration for an entire abstract movement. His words written many in the Lalit Kala Contemporary Journals in 1995, form the fulcrum of his philosophy and art. “There is something in the vast complex of our racial psyche, from the austere, crystalline poetry of our Vedic forbears to the awesome pantheon of gods and demons, from the abstract metaphysics of Hindu thought to the threatening totems of the folk ritual, that bears its head against the wall of the Pseudoscience that our so-called intelligentsia has inherited from Modern Western culture.” — J Swaminathan, ‘The New Promise’, Lalit Kala Contemporary 40, March 1995.
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Delhi: 5 things to look forward to at the India Art Fair 2020


Source Architectural Digest by Jasreen Mayal Khanna
India Art Fair (IAF) is the biggest exhibition of contemporary and modern South Asian Art in the country, and 2020 marks its 12th edition. Jagdip Jagpal took on her role as fair director in 2018, and since then has been instrumental is giving this exhibition a distinct identity. “Why should someone attend India Art Fair? We needed to make it clear that we are a one-stop shop for contemporary South Asian art with superior curation. The potential art market is very small and we need to grow that by growing an interest in art. The artists and their art is the core of everything we do.” Since the beginning of her tenure, Jagpal has ensured that that 70 per cent of stall space is reserved for Indian galleries showcasing South Asian art. Visitors typically include international curators to high net worth individuals to filmmakers, and the organisation makes a strong effort to include students and differently-abled people as well. India Art Fair 2020 has some exciting new artist programmes, cutting-edge genres of art, a cool lifestyle space as well as a highly-anticipated opening party. These are Jagpal’s favourite picks.
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Snow as seen by Sohrab Hura


Source British Journal of Photography by Hannah Abel-Hirsch
In spite of the volatile political situation, Kashmir’s landscape is spectacular: snow envelops its jagged mountain tops and, during the winter, extends beyond, carpeting its scenery in spotless white. Sohrab Hura was, by his own account, blinded by its beauty when, in 2015, he travelled to the touristic ski-resort of Gulmarg, a scenic hill station in the Indian section of the region, from his home in New Delhi. Hura, like the hordes of other tourists visiting Gulmarg, many hailing from India, had come to see the snow and, initially, he was overwhelmed by it and the kindness of the people who live there. But, returning home, he felt unsettled.
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Many Visions, Many Versions: Art from Indigenous Communities in India


Source MutalArt
Many Visions, Many Versions: Art from Indigenous Communities in India highlights work by contemporary artists from four major indigenous artistic traditions in India. The exhibition features paintings by significant indigenous artists including Jangarh Singh Shyam, Jivya Soma Mashe, Sita Devi, and Swarna Chitrakar, among others. Many Visions, Many Versions explores the breadth and variety of cultural traditions in India, revealing a dynamic aesthetic that remains deeply rooted in traditional culture, yet vitally responsive to issues of global concern.
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mercredi 22 janvier 2020

Can everybody be an artist? Sudarshan Shetty says, ‘Yes’

Source Outlook by Trisha Mukherjee
The art community has long been accused of being closed but curator Sudarshan Shetty decided to broaden the canvas and opened the doors for those on the margins -- of the art world and also society -- to bring them into the mainstream. Ask the contemporary Indian artist if everybody can be an artist and he says, "Yes". His claim is vindicated in his recent show, "Look Outside this House", where he curates 27 artworks created by people who might not be referred to as artists in the conventional sense and includes not just installations but also songs and even a magazine. Shetty’s artists are the likes of farmers, sex workers, Dalits, transgenders, women and people from similar communities, which have long existed on the margins. And their artworks are essentially innovations born out of their circumstances.
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jeudi 16 janvier 2020

The art of expression at Serendipity Arts Festival


Source The Telegraph
Imagine the Mandovi river in Panaji with Goa’s heritage structures spread on the riverside providing the perfect canvas for the culmination of creativity. The recently concluded fourth edition of the Serendipity Arts Festival painted a picture on this canvas with their eight-day multidisciplinary creative extravaganza with a programming so nuanced yet extensive that it had something for everyone. With 12 diverse venues housing over 95 projects ranging from art exhibitions and installations to live performances and workshops, the Serendipity calendar is always one to look out for. While multicultural art practices were in focus, projects pushing the boundaries of acceptance and politics could also be seen, making this multihyphenate in the truest sense. We tried to pack in as much as we could over two nights and here are our highlights.
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jeudi 9 janvier 2020

Akbar Padamsee: The Sanskrit scholar among the Progressives


Source The Hindu by Uma Nair
Striking a balance between modern art and Indian philosophy, Akbar Padamsee strived to bring the conscious and the unconscious on the same plane. Akbar Padamsee’s passing away invited an elegiac silence in the contemporary art world. India has lost the Sanskrit scholar among the Progressives. Padamsee, as an artist, led us into a space of refined aesthetic, balancing between the hieratic and the human. In the best of two centuries, Padamsee nourished himself as the fountainhead of regional and ancestral traditions to translate an epoch of modernism in his sensibility and language. Born in Mumbai on April 12, 1928, into a Khoja Muslim family with intellectual leanings, Padamsee joined Sir. J.J. School of Art in 1948, with considerable support from his family and the blessings of Aga Khan.
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Artist Jogen Chowdhury’s rare works, across mediums and periods are on show at Pundole’s, Mumbai


Source Architectural Digest India by Uma Nair
Pundole’s in Mumbai is offering a glimpse into the relationship between an artist, a collector and a gallery of repute. Masanari Fukuoka, a renowned Japanese collector, who has about 400 Jogen Chowdhury’s works in his collection—from drawings, paintings and pastels (1965-2005)—is ready to open up his prized possessions because here is a relationship that goes back more than 20 years.
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mardi 7 janvier 2020

Akbar Padamsee, one of pioneers in Modern Indian painting, dies at 91

Source Hindustan Times
Born in 1928 in Mumbai, Padamsee passed away after prolonged illness on Monday evening. He was 91. A contemporary of the legendary Progressive masters, including FN Souza, VS Gaitonde, MF Husain, Padamsee worked with a variety of mediums including oil painting, photography, sculpture, prints and film. “His legacy spans more than the art he produced,” said art and cultural critic Ranjit Hoskote, who described Padamsee as his mentor. “He was a myriad-minded man. His pioneering spirit allowed him to experiment with a wide range of media,” Hoskote said. “He had a profound practical sense. He was engaged with how one makes one’s way through life, preoccupied with an artist’s relation to the museum, culture, reading, and discussion.”
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vendredi 3 janvier 2020

A cry from the art: In the backdrop of political turmoil, Indian art turns its gaze inwards to the country's diverse folk, subjugated and alternative narratives


Source Indulges by Anagha M
As the nation erupts and boils over with protests against the new Citizen Amendment Act by the government, a larger dialogue about labels, homelands and prejudices emerges and the nation yearns and introspects about identity. In this atmosphere, the recently concluded Serendipity Arts Festival in Goa, through interdisciplinary and cross-cultural exchange brings forth and ponders the topics of identity, inclusivity and diversity in a congruent manner. Indulge spots trends and common threads that the festival had to offer /.../ Nancy concludes with a hope that in the coming year, artists will approach their practices with an expanded political consciousness. “In the current situation, where anybody who questions the government is considered anti-national, my show suggests that we reclaim the diverse histories ignored or repressed by the dogmas of art history on the one side, and by ultra-nationalism on the other. The idea is not to fetishise these lost histories. It is to make them relevant to the urgencies of our times,” she sums up.
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