lundi 31 août 2020

Gauri Gill ON SEEING

Gauri Gill, who has been called “one of India’s most respected photographers” (New York Times) and whose work is featured in When All That Is Solid Melts into Air, talks about the evolution of her photographic practice, her collaborative projects, and her ongoing engagement with rural India since 1999. Various of Gill’s ongoing projects highlight her sustained belief in collaboration and “active listening” and in using photography as a memory practice. Her work addresses the twinned Indian identity markers of class and community as determinants of mobility and social behavior. It is marked by empathy, surprise, and a human concern over issues of survival. Among her projects is "Notes from the Desert," a decade-long study of marginalized communities in rural Rajasthan. Since 2013 she has collaborated with Rajesh Vangad, a renowned Warli artist, on "Fields of Sight," combining the contemporary language of photography with the ancient one of Warli drawing.
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dimanche 30 août 2020

When a Japanese fish baron decides that Pundole’s Mumbai will auction some of his collection

Source Times od India by Uma Nair
“When Masanori Fukuoka first walked into the gallery in 1990, one presumed he was a Japanese tourist making some purchases on a business trip to India. Happily that was not to be. A few months later, he re reappeared; wanting to know more about artists he had seen at the NGMA in New Delhi on his previous visit. He was impulsive and was certainly buying more than an individual needed to decorate his home. Later one learnt that he wanted to understand Indian modern art better, by living with it over a period of time in Japan. Before one knew it, he had built an extension on vacant land adjoining his food processing factory in Himeji, and opened The Glenbarra Art Museum for his personal pleasure, as well as to expose Indian art to the local public."
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mardi 11 août 2020

In Amit Dutta’s bold and beautiful cinema, an unforgettable exploration of Indian art traditions

 Source Scroll In by Suresh Chabria 

Dutta belongs to a small band of independent filmmakers in India who persist in exploring and expanding the possibilities of the film medium. His films are situated at the intersection of Indian art history, philosophy, literature and narrative traditions articulated through formal experimentation with the devices of cinema. In this ambitious project he may be reckoned to be extending the work of earlier great avant-garde filmmmakers like Ritwik Ghatak, Kumar Shahani, and particularly Mani Kaul, whose elliptical and layered aural and visual style is perhaps the chief influence on Dutta’s films. However, in contrast with his predecessors, Dutta’s films bring to the fore a newer sensibility that is not soaked to the same extent with the sensual dimension, ideological impulses or the gender-conscious trope of the Mother Goddess myth.

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samedi 8 août 2020

Tyeb Mehta sets new world record for South Asian art at Christie’s post-lockdown art auction in New York

Source Money Control by Deepali Nandwani
The late artist, one of the stalwarts of India’s Progressive Art Group (PAG), has consistently drawn top dollars in the auction market. In 2018, his work, Kali—a dramatic painting with the goddess in blue colour with a red mouth — set a world record of $4 million in a physical, on-ground auction. And now another of Mehta’s painting, Falling Figure created a new benchmark in post-lockdown online auctions by realising $975,000, achieving the highest price for a South Asian Modern + Contemporary work since lockdown in Christie’s New York’s sale, which was part of the Asian Art Week online.
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