CONTEMPORARY ONE WORD SEVERAL WORLDS

vendredi 24 juillet 2020

Mrinalini Mukherjee: Force(s) of Nature


Source Ocula by Stephanie Bailey
Bagh, which translates to garden, is a fitting title for Jhaveri Contemporary's current exhibition of works by Mrinalini Mukherjee (29 February–31 July 2020). It was in the garden towns of her youth where Mukherjee developed a deep and enduring relationship with nature that charged her practice. The exhibition marks the first time Mukherjee's early etchings and late bronze sculptures have been shown in conversation. The etchings were created in the 1970s and 80s at the Garhi studios in New Delhi and shown for the first time at the 2018 Kochi-Muziris Biennale. They depict vibrant woodland scenes that reflect the artist's formative years growing up between the foothills of the Himalayas in Northern India, and Santiniketan in West Bengal, where Mukherjee's father, the renowned artist Benode Behari Mukherjee, taught at poet Rabindranath Tagore's experimental art school Kala Bhavan, which celebrated nature and folk traditions in its independent curriculum.
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jeudi 16 juillet 2020

in Touch


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mardi 14 juillet 2020

The house of art, the story of a gallery and an art revolution


Source The Telegraph by Ruchir Joshi
Often an important transformative moment in a city’s history becomes identified with a neighbourhood or even a house. While Colaba is not Montmartre, Bandra is not Bloomsbury and Kekee Manzil not quite Jorasanko, the mansion on the Bandra seafront was a hugely important site in the development of modern Indian art. Behroze Gandhy’s eponymous film, Kekee Manzil: The House of Art, is a documentary about her parents, Khorshed and Kekoo Gandhy, who played such a central role in launching the art scene in Bombay between the 1940s and 1960s. Part decade-traversing home-movie, part archive footage buffet, part Films Division homage (complete with constant Voice of God commentary and wall-to-wall background music, including a tabla riff exactly at the mention of a riot), the film offers many riches. If you are at all interested in modern Indian art, or in our country’s recent urban cultural history, or in the city once known as Bombay, or in the story of contemporary Parsis, or in interior decoration, or in the changing texture of the moving image over the last seventy years, then you shouldn’t be able to take your eyes away for any of the film’s 90-minute running length.
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samedi 11 juillet 2020

Woodson Art Museum exhibit features artwork of India


Source Woodson Art Museum
Spice up summertime by experiencing contemporary artwork of “Many Vision, Many Versions: Art from Indigenous Communities in India.” This exhibition, featuring dazzling patterns, vibrant colors and nonlinear storytelling, is on view at the Leigh Yawkey Woodson Art Musuem through Aug. 30. Learn about life and culture in India through artworks from central India’s Gond and Warli communities, the Mithila region of Bihar and the narrative scroll painters of West Bengal. These distinct and imaginative Indian cultures are united by a common love of narrative as a source of meaning in daily life. The resulting artwork is imbued with tradition, yet dynamically responsive to contemporary global issues. The exhibition features more than 40 paintings and drawings by 24 artists, including Jangarh Singh Shyam, Jivya Soma Mashe, Sita Devi and Swarna Chitrakar.
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mercredi 8 juillet 2020

Publication of the book "Richard Long - India"


Publication of the book "Richard Long - India" work in progress photos Hervé Perdriolle. This book is one of the rare photographic testimonies allowing us to discover Richard Long's works in progress inspired by his first trip to India. More information and online order:
> herve-perdriolle-editeur.org

mardi 23 juin 2020

Art Basel 2020: The pandemic triggers a virtual shift in art

Source Livemint by Avantika Bhuyan
With a new online-only exhibit for Art Basel, gallerist David Zwirner stresses the need for the art ecosystem to embrace technology - During my 27-year-long career, I have seen that when new regions enter the art market, such as South America, China, Japan and now India, the emphasis in the early years is on local artists—artists from the country that you know and art which reflects the traditions you are familiar with. It is only after you start exchanging information with an international group of collectors that you open your eyes to visual traditions from other countries. One such genre is that of contemporary art from Europe and the US, which we are now bringing to India. This is just the beginning and the dialogue with international art in the country is still in its early years.
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mercredi 17 juin 2020

Swadesi's 'The Warli Revolt' goes viral on TikTok and WhatsApp


Source RadioandMusic by RnMTeam
Mumbai-based multilingual hip-hop crew Swadesi 's seminal single, The Warli Revolt, has been found going viral courtesy TikTok and WhatsApp statuses. The anthemic single that became a rallying cry for the Save Aarey movement proved to be a career defining moment for the crew who quickly found themselves becoming the voice of socially conscious hip hop in the country. Over the last month, the track has seen a resurgence amongst folks with a clip of Swadesi's live performance of the same at the 2019 edition of India’s largest crowdfunded music festival Control ALT Delete going viral over WhatsApp statuses and TikTok. Swadesi has amassed well over amillion organic views on user generated content and over 500K on the original track itself.
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Adivasi revolt that ushered in change for all

Source Frontline
For the region, 1945-46 must have been a heady time. After almost a century of injustices, there was unity, leadership and personal freedoms; it must have felt like a new dawn in the lives of the Adivasis. The Parulekars, the Kisan Sabha and the Adivasis kept up the tempo. The Warli Adivasi Revolt started out as a fight against bonded labour and lagnagadi and went on to become a fight for wages for work, land ownership and forest rights. What began as a movement to liberate Adivasis blossomed into a fight for basic democratic rights and laws for the general population. In 1948-49, the Maharashtra government was forced to enact the first tenancy legislation in the State. Since the law came about because of the Adivasi struggle for ownership of land, it was only appropriate that it was first implemented in three tehsils of Thane district. The Tenancy Act was soon implemented all over the State. This was followed by legislation that prohibited Adivasi land from being sold to a non-Adivasi person. In 1960, Godutai led the first ever morcha (march) in India demanding forest land in the name of Adivasis; 46 years later, in 2006, the Forest Rights Act was enacted.
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mercredi 10 juin 2020

Success for the sale of a small drawing by Jangarh Singh Shyam


A drawing by Jangarh Singh Shyam of 1994 9x6.5 in - 22.9x16.5 cm sold on June 9, 2020 at Saffronart for the sum of $4,087 (incl of Buyer's Premium) setting a new record (concerning a work of this format) for this legendary contemporary Indian tribal artist, present at the Magiciens de la terre (Centre Pompidou 1989) and to which three major books have been dedicated in recent years.
> see auction results
> see Jangarh Singh Shyam available works

mardi 9 juin 2020

Waiting to make your first big post-lockdown purchase? Acquire a stunning Souza


Source Architectural Digest by Nolan Lewis
While economists are still evaluating the impact of the global meltdown caused by the Coronavirus pandemic and the mercurial volatility in international prices, every wise investor knows that even the darkest economic recessions come with a silver lining—they can be profitable phases to invest in real estate or buy that work of art you’ve been eyeing forever. “Although the global lockdown has been a pandemic to numerous situations and on a number of levels, I have noticed that in terms of fine art purchases, the market has actually increased and become more robust, especially in terms of online sales. While this doesn’t necessarily apply to the prices of each individual work, this does apply to the volume of sales, which I have noticed have increased and are quite fantastic! Especially in online sales,” notes Francis Patrick Souza, the son of expressionist painter F.N. Souza and Founder of the F.N. Souza International Fine Arts Foundation & Family Trust Inc.
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jeudi 4 juin 2020

IN TOUCH

IN TOUCH, a digital exhibitions platform created in collaboration between galleries, presents it's second iteration live from today until July 5th at www.artintouch.in. The participating galleries of In Touch Edition 2 are: Chemould Prescott Road, Bombay; Experimenter, Kolkata; Galerie Mirchandani + Steinruecke, Mumbai; Gallery Espace, Delhi; GALLERYSKE, Bangalore/ Delhi; Green Art Gallery, Dubai; Grey Noise, Dubai; Nature Morte, Delhi; PHOTOINK, Delhi; Sakshi Gallery, Mumbai; The Third Line, Dubai; and Vadehra Art Gallery, Delhi. The In Touch platform will additionally host collateral online programming including gallerist connects and artist talks conducted digitally.
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lundi 11 mai 2020

NON-FICTION: THE FORGOTTEN INDIAN ARTISTS


Source Dawn by Nageen Shaikh
The British did not colonise the Indian Subcontinent only for spices and land. In fact, they were quite deeply enamoured of the indigenous flora and fauna of this diversely populated part of South Asia. In the late 1700s, British patrons of the East India Company hired many local Indian artists to create albums and folios with intricately detailed and polished paintings and drawings of India’s native bounty — the natural world of plants, animals and birds. These works were collectively termed ‘Company Painting’. However, the degradation of traditional Indian painting, because of the arrival of colonial forms of education and the dawn of photography, overshadowed these original works, driving them well into obscurity. The book Forgotten Masters: Indian Painting for the East India Company accompanies the art exhibition of the same name at The Wallace Collection, a museum in London. As the exhibit jolts our fascination by bringing these obscure Indian masterpieces to public view, the catalogue is refreshingly complete with an introduction by the exhibition’s guest curator and historian William Dalrymple.
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mercredi 6 mai 2020

Zarina Hashmi, Artist of a World in Search of Home, Dies at 82


Source The New York Times by Holland Cotter
In recent years the political scope of Ms. Hashmi’s work has sharpened, in prints that refer to anti-Muslim violence and the plight of persecuted refugees. Even then, in its scale and reflective mood, her art remains as personal and intimate as a diary. Regret colors the narrative. (“Nobody is left in our house at Aligarh. Rani is gone. My parents are gone. Home has become another foreign place.”) But something like serenity settled in. “I have had people come to my show and start to cry,” Ms. Hashmi said in her interview with the Met. “I always ask them why, and usually they say, ‘That is our story also.’ A lot of them were people who were exiles from their own country: Holocaust survivors, or people who had the desire to return home. I realize that if you tell your story and if someone can come and cry on your shoulder, that is sharing.”
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vendredi 1 mai 2020

Art in the time of COVID: 10 galleries from India and Dubai come together for a one-of-a-kind digital exhibition


Source Architectural Digest by Kriti Saraswat-Satpathy
Even in the grimmest of times, art has the power to uplift, bring about a change and influence. Take this COVID-19 quarantine time for instance, with art talks, conferences, exhibitions and auctions being suspended. But creativity cannot be contained, and as a response to this pandemic, a new-age, futuristic digital platform has emerged called ‘In Touch’ that will bring together a diverse range of programmes, exhibitions and artists from various galleries. For its first edition, 10 galleries from India and Dubai will be showcasing works of artists that hold relevance in this unique time. We give you a preview of this unique, innovative digital exhibition.
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Artist Dhruvi Acharya’s watercolours, which are up for sale, are helping tide over this crisis


Source Architectural Digest by Ritupriya Basu
“I paint because I almost have to, for my peace of mind,” says artist Dhruvi Acharya, when quizzed about her relationship with art. Painting, for Acharya, is a process that is equally cathartic and meditative, a telling aspect of her practice that reflects in her elaborate, psychologically complex drawings. Ever since India went under a nation-wide lockdown to battle the Coronavirus pandemic, Acharya started painting, almost compulsively, to help untangle her thoughts and take stock of her emotions.
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IN SCULPTURES AND PRINTS, MRINALINI MUKHERJEE CAPTURED THE WILDNESS OF NATURE


Source Art in America by Skye Arundhati Thomas
Born in Mumbai in 1949, two years after Indian Independence, Mrinalini Mukherjee, who died in 2015, belonged to a generation of artists emerging in the 1960s who attempted to decolonize the young nation’s visual arts. Primarily a fiber-based sculptor, she used materials indigenous to South Asia, like hemp, jute, cotton, wool, and sisal, updating Indian craft techniques to develop a unique hybrid language that combined the traditional and the modern. She frequently modeled her sculptures on flora but—as Nilima Sheikh recalls in the catalogue for the artist’s 2015 retrospective at the National Gallery of Modern Art in New Delhi—had no interest in “pretty English landscapes.” Instead, her inspirations tended to be wild and tropical: spiky date palms and lush mango groves, bougainvillea and plantain trees.
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mercredi 29 avril 2020

Zarina Hashmi (1937-2020): An artist whose work is woven with ideas of displacement and mobility


Source Scroll'in by Zehra Jumabhoy
Ideas of displacement and mobility are woven throughout her oeuvre. The subject of home is key: Father’s House 1898-1994 (1994) is a print depicting the floor plan of her childhood home. In Homes I Made/A Life in Nine Lines (1997) a set of nine spare, shadowy prints represent the homes Zarina occupied during her adult life. Homes I Made (1984-’92) is a collection of minute aluminium and terracotta houses, fitted with wheels. Most famous of all is Home is A Foreign Place (1999) a suite of 36 woodblock prints, which includes a miniature floor plan of her Aligarh home; a vertical line and a horizontal one; black triangles; cream squares and crosses. Most of these fragile forms are accompanied by Urdu words for “journey,” “border,” “road,” and “time”. Home is a shifting concept in these works – as it was in her life.
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lundi 27 avril 2020

Internationally celebrated artist Zarina Hashmi passes away


Source The Daily Star by Zahangir Alom
The enigmatic lines took innumerable forms in Zarina Hashmi's works – at times they appeared as political borders, on other occasions, they exemplified her interest in architecture. They were jagged veins that denoted vague and distinct memories that the artist gathered from experiences and interactions with people and places across the world. Zarina Hashmi lived in numerous cities, from Aligarh to Bangkok, Paris, New York and London, and in every place, she sought to create a home. She passed away in London, at 83, after a prolonged illness. Contemporary Indian poet, art critic, cultural theorist and independent curator Ranjit Hoskote made the announcement about the death of the celebrated Indian-born American artist on Twitter, on April 26.
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samedi 25 avril 2020

Mortimer Chatterjee and Tara Lal on pushing the boundaries of contemporary art


Source Elle India by Krutika Behrawala
While Instagram helps with the outreach, it’s made their job as gallerists more challenging too. “There’s an assumption that once you’ve scrolled through the exhibition online, you don’t need to make the effort to visit a gallery…” he rues. Lal interjects, “That’s a disadvantage because then, you can never know the impact of an artwork.” Their unfettered spirit and diverse choices reflect in the gallery’s curatorial calendar, which is increasingly seeing exhibitions related to historical material. Their recent exhibitions have shone the spotlight on lesser-known artists such as Riten Mozumdar and Rustom Siodia. “The Indian art scene has been so focused on five-six names that it has missed out on a rich history. We enjoy teasing out these forgotten stories and hope to keep doing so,” says Chatterjee.
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vendredi 10 avril 2020

Overlooked No More: F.N. Souza, India’s Anti-Establishment Artist


Source The New York Times by William Grimes
His art would find new admirers. Tate Britain, as part of the 2018 exhibition “All Too Human: Bacon, Freud, and a Century of Painting Life,” set aside an entire room showcasing 10 of his works. Later that year, the Asia Society in New York included several of Souza’s works in “The Progressive Revolution: Modern Art for a New India,” a show devoted to the Progressive Artists’ Group, and a stirring reminder of Souza’s headlong charge into the future. “We were bold and full of fire,” Souza told The Times of India in 1989. “We were forging a modern Indian art with a blast!”
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Carpe Arte encourages you to support Indian contemporary art by engaging with it.


Source Carpe Arte
Carpe Arte is a play on the Latin ‘Carpe Diem’ and encourages you to Seize the Art. An art enthusiasts organization, We aim to build a community that supports Indian contemporary art by engaging with it and making it more accessible through talks, gallery walk-throughs, workshops, VIP previews, visits to private collections and visits to artists studios. Art is an important part of our history and it is important that we support it but this can only happen if we engage with it. The art world can be daunting, we help simplify it by giving you access to all the information, inviting you to join us when we attend events and encouraging you to ask questions – we truly believe there are no stupid questions when it comes to understanding art.
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dimanche 29 mars 2020

Allegory of unheard Dhongariya Kondh’s (tribal) of Odisha


Source India City Blog by Nimi Shasharma
Allegory of unheard Dhongariya Kondh’s (tribal) of Odisha Under the canopy of Niyamgiri Hills situated in Odisha resides an endangered and unheard group of tribal known to be Dhongariya Kondh. The forests of Rayagada and Kalahandi are home to 8000 tribals. For these tribals, the hills are home to their God Niyam Raja. These hills are situated miles away from the hustle of city, behind the woods. Since generations, these tribal groups are breathing in this fresh air and sustaining on the fruits, vegetables, cultivation and by practicing horticulture. They spend their time together by singing, dancing, chanting old mantras, weaving, knitting and helping each other. They were elated in their own tiny world till Vedanta came into their lives.
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samedi 28 mars 2020

The Indispensable Modernist: Francis Newton Souza


Source Livemint by Vivek Menezes
Precisely 18 years ago, the tumultuous and meteoric life of Francis Newton Souza came to an end. The great Indian modernist had been based in New York for decades but died on 28 March 2002 while visiting Mumbai, the beloved city of his youth and initial ascent to notoriety. He was buried two days later,with only a handful of witnesses, and no family members in attendance. The rest of the world barely paid any attention at all. Writing in the Deccan Herald a fortnight later, the poet and editor Adil Jussawalla was white-hot angry about what he called “the near-indifference to his death, the mealy-mouthed praise". He wrote: “I’m shocked. He was more than a friend. Surely there’s little doubt he was one of our greatest painters." Jussawalla pointed back to the artist’s A Fragment Of An Autobiography, first published to great acclaim in England in 1955, then republished in India, writing, “Hardly anyone in a city which buys, sells and talks art all the time and which has pretensions to be one of the art’s international capitals, seems to have been interested in buying the book since copies can be bought off one of the city’s pavements at ₹10 each." He quoted this unforgettable passage: “I was a rickety child with running nose and running ears, and scared of every adult and every other child. Better had I died. Would have saved me a lot of trouble. I would not have had to bear an artist’s tormented soul, create art in a country that despises her artists and is ignorant of her heritage." Concluded Jussawalla, “It’s something I read with great bitterness now."
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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.
> read more

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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