Early painting by Bhupen Khakhar makes auction debut at Bonhams

Source ArtDaily
Residency Bungalow, an important early work by Bhupen Khakhar, leads Bonhams’ Modern & Contemporary South Asian Art sale on Tuesday 6 June in New Bond Street, London. Painted in 1969, the work was exhibited at the 1969 Sao Paulo Biennale before being acquired by a private American Collection in the early 1970s, where it has remained ever since. The work has an estimate of £250,000-350,000. Bhupen Khakhar (1934-2003) played a central role in modern Indian art and was recognised for his unique figurative style and incisive observations of class and sexuality. He often explored openly homosexual themes at a time when it was not generally addressed within India, and celebrated the day-to-day lives of the common man. An accountant turned self-taught artist, who came to painting quite late in life as a member of the Baroda Group, Khakhar approached his work with humour, attentiveness, and a boldness which gained him a reputation as ‘India's first Pop artist.’ In 2016 he was the subject of a major retrospective at the Tate in London. His work is included in major galleries and private collections across the world.
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Dayanita Singh Dancing with my camera

Source 9Lives Magazine
Depuis quatre décennies, Dayanita Singh (1961, New Delhi) développe une œuvre qui se distingue par la manière dont elle brouille les genres et explore les limites du médium photographique. Dancing with my Camera, qui constitue la plus importante exposition dédiée à l’artiste indienne à ce jour, parcourt l’ensemble de son œuvre, depuis son premier projet photographique consacré à l’univers musical du percussionniste indien Zakir Hussain (1951, Bombay) jusqu’à ses œuvres les plus récentes, parmi lesquelles Let’s See (2021), inspirée de la forme des planches contacts. Témoignant de l’invention formelle qui caractérise l’œuvre de Singh, l’exposition met également en valeur le regard singulier qu’elle porte sur des thèmes tels que l’archive, la musique, la danse, l’architecture, la disparition, le genre ou encore l’amitié.
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Interview: Mithu Sen centres “lingual anarchy” to question institutions and the art market

Source Art Guide Australia by Amelia Winata
The title of the exhibition alludes to the more primal and corporeal relationship we have with language, through our bodies. I present it as an invitation and a provocation to abandon our known languages, and, instead, reflect on unintelligible and unknown languages to search for our common denominators. For me, language is a sign of imposed cultural differences, and English, a reminder of colonial dominance. Over two decades, I have identified an uncodified subconscious language through visual and performative practices, which I call “un-language”. It is the primary material around which everything revolves. In this vein, the exhibition also elaborates on tropes and tools of identity and communication that I have used over the years, primarily the use of first-person singular to command an agency for my voice and complicating the guest-host relationship through radical hospitality, which in this case is exacerbated by me being an artist from the global south in Australia.
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Partition - Partage

Source E-flux
Kiran Nadar Museum of Art (KNMA) today presents an architectural model of its new building. Designed by renowned Ghanaian-British architect Sir David Adjaye in collaboration with S. Ghosh & Associates as local architect of record, it is set to be India’s largest cultural centre when it opens in Delhi in 2026. An installation showcasing the model is presented as part of the Curator’s Special Projects at the 18th International Venice Architecture Biennale, curated by Lesley Lokko and coincides with the breaking ground of the new museum in New Delhi. It responds to “Mnemonic,” the theme of Curator’s Special Projects’ section in the Arsenale and includes works from the museum’s collection by major Indian artists Tyeb Mehta (1925–2009), Zarina (1937–2020) and Nasreen Mohamedi (1937–1990). This is accompanied by Touch AIR (2023), a film by contemporary filmmaker Amit Dutta. The museum’s collection of over 10,000 modern and contemporary works draws on the region’s rich cultural history. The new location, covering over 100,000 square metres, will be located on the National Highway (NH8) in Delhi, near the Indira Gandhi International Airport.
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Art and revolution: Vivan Sundaram, an artist whose work captured the turmoil of contemporary times

Source Scroll.In by Sujata Prasad
His political orientation took a dramatic turn during the 1968 anti-Vietnam war demonstrations, organised by the Vietnam Solidarity Campaign, a revolutionary Trotskyite organisation. At his memorial meeting held in Delhi on April 17, Indian economist Prabhat Patnaik spoke about the massive rally at the Grosvenor Square where he and Sundaram were both present. They marched with Pakistani-British activist and writer Tariq Ali from Trafalgar Square to Oxford Street to Grosvenor Square where English actor Vanessa Redgrave made a surprise appearance. The espousal of radical Left politics across university campuses in the US, and in Paris, London, Berlin, Mexico City, Warsaw, Belgrade and Czechoslovakia – where tanks rolled to silence the Prague Spring, the strike of workers’ demanding better working conditions – and the virulent contestation of everyday reality left its impact on the sixty-eighters. The paroxysms of the 1968 student politics continued to reverberate in Sundaram’s life. He lived in a commune with friends, incubating an emotional hunger for social transformation. He returned to India in 1970 after hitchhiking across North America, Europe, Turkey, Iran and Afghanistan – drawing acclaim almost immediately when his ink drawings of the Heights of Macchu Picchu, based on poet Pablo Neruda’s 12-poem sequence were displayed.
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Arpana Caur – An empathetic activist artist

Source Indica News by Sonia Dhami
Amongst the multiple reasons of the heart and mind, which draw me time and again to return to my motherland, is to get to meet Arpana Caur. Despite her exalted position as one of India’s leading contemporary artists, she always maintains a humble and modest demeanor. As my friend and I entered the beautiful red brick building, she received us with her trademark warmth and love and took us up to her studio on the fourth floor, which opens onto an expansive terrace. Amidst the call of the peacocks and birds flying in the skies above, we marveled over the dense tree cover surrounding Siri Fort Auditorium. Arpana explained to us the legal battles that she & her mother, the celebrated author Ajeet Cour, have had to fight to keep the authorities from brutally cutting down these very trees just to make way for the ubiquitous modern malls and restaurants, one sees sprouting unchecked in towns over India. Arpana’s life has been fuelled by activism around the many causes she & her mother have taken up. Whether it is filing legal cases to fight for protecting the environment or distributing blankets to the needy, or running vocational training courses for poor students or exhibiting art –folk, contemporary & miniature, in their in four in house art galleries, the mother-daughter duo have freely given of their time, resources and above all love.
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In Captivating Animations, Nalini Malani Builds Feminist Visions of Justice

Source Artsy by Ayanna Dozier
Over the past 50 years, Nalini Malani has captivated audiences with her feminist mythological landscapes across animations and large-scale media installations. Born in 1946 in Karachi (which was then part of pre-partition India, and is now Pakistan), the artist had her early beginnings in the 1960s experimental film and video movement in India. There, she was a participant in Vision Exchange Workshop (VIEW), the experimental artist workshop in Bombay (Mumbai) led by artist Akbar Padamsee. Throughout her practice, Malani challenges narratives and foregrounds women’s rights, influenced by her experience with colonialism and migration following the partition of India. This is partly influenced by her experience watching many of her female peers get married and give up their artistic practices. “Many of my [female] colleagues in the art school were lost to matrimony,” she told Artsy. “I’m sorry to say that we lost really great artists to marriage.”
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