Occupying the Art World: Fred Forest Visits NYC

Source On-Verge by by Ruth Erickson
The project for the MoMA was the insurrectionary insertion of an invisible work, which would always remain beyond the grasp of institutional acquisition. Upon arriving with his group of volunteers at 4pm, Forest was greeted by three security agents who prohibited the work and threatened to call the New York City police if any performance took place. A twenty-minute conversation between Forest and the guards ensued about freedom of expression within the museum. The MoMA, Forest learned, only exhibits acquired or borrowed works, that is, works that have already participated in the art market. This is the very market being attacked sixty blocks further south by Occupy Wall Street and just a few block north by protestors at Sotheby’s. This is the market that Forest had made visible through the failure of his Oeuvre Invisible. After being trailed by security guards until leaving the building and area, Forest declared the creation of a new work, “The Conversation.”
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Masters and the economics of art

Source Times of India by Archana Khare Ghose
The Indian art market that has come under sharp focus ever since it started growing rapidly in the early years of the last decade is highly lopsided - the collector base is of just about 500, largely located in two cities. That's ridiculous if it wants to make a dent internationally like China has done. The Chinese art market is 40 times that of India's.
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They are like this Warli

Source DNA by Gangadharan Menon
It all started four decades ago, in the early 70s. Pupul Jayakar, the cultural activist who revived many traditional Indian arts, along with her assistant Bhaskar Kulkarni, was on a voyage of rediscovery. They rediscovered the rich and colourful Madhubani art in north India, and then the spartan Warli art that shuns the use of all colours except brown and white.
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Gritty Indian art-house film Gangor sweeps awards in America

Source Firstpost by Uttara Choudhury
The festival ran an attractive line-up of 38 South Asian films and was heavily represented by Indian films, as it has been since the event’s 2007 inception. Muzzafar Ali’s critically acclaimed “Anjuman” with Shabana Azmi singing her own songs, was the crowd-pleasing closing night film. All the movies were satisfying but Italian-Indian co-production “Gangor”, which had earlier got a thundering audience reaction in Rome, got tremendous festival play. It scooped the Best Film, Best Director, Best Actor and Best Actress awards at the New Jersey festival. The film made by the Italian director is multi-lingual with English, Bengali and smatterings of Santhali, a dialect spoken by the Santals who live in Jharkhand, Bengal, Orissa, Bihar and Assam.
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L'art contemporain indien

Source Art Market Insight
Il faut attendre 2010 et la reconnaissance de nouveaux artistes (Bharti KHER obtient une enchère record à plus d’un million de dollars, Jitish KALLAT dépasse pour la première fois les 300 000 $…) afin de relancer le marché de l’art contemporain Indien. Dopé par une croissance de 15% de son Produit Intérieur Brut en 2010, ainsi que par l’extraordinaire croissance de plus de 20% de son nombre de millionnaires (soit plus de 150 000 millionnaires en Inde en 2010), l’art Indien bénéficie enfin d’une demande locale important qui soutient ainsi la scène locale émergente. Le premier semestre 2011 signe le retour des records.
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Gloom in economy spurs boom in art market

Source Express Buzz
As art adviser Allan Schwartzman put it after Christie’s sale: “People want to take their money out of Wall Street and put it into hard assets such as art.” In fact, the boom in the collectibles market seems to represent one of the paradoxes of wealth recovery. While yachts, planes and mansions are stuck in a slump, collectibles are raging. Prices for the best-known fine art have all surged after taking a brief pause in 2008 and 2009 and these items have become a better and more secure investment than stocks or bonds.
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> site web Hervé Perdriolle Galerie en appartement Inde(s) Paris 5

Via India to Israel: The Migrations of the Bnei Menashe

Source ISN Insights by Shalva Weil
So far, 1,500 tribal people from north-east India have immigrated to Israel, with a further 7,200 due to join their brethren in the Jewish state. The decision (in principle) to bring the Bnei Menashe was taken four months ago by the Israeli Ministerial Committee on Immigration and Absorption, headed by Foreign Minister Avigdor Lieberman. The Israeli government is expected to pronounce a final verdict on the subject in the near future.
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Indra’s Cloud

Source The Examiner
Here is an example: my recent sculpture, “Indra’s Cloud”, is made entirely out of plastic water bottles. These were readily available to me; I was staying at a guest house in Vrindavan, India that was also hosting a foreign yoga group. This group went through these bottles at a surprising rate. The bottles piled up in the hallways. It wasn’t difficult for me to collect enough to make this sculpture. The fact that it was necessary for this group to use such a vast quantity of mineral water is a direct result of the environmental devastation of the Yamuna River. Furthermore, the translucence of the bottles naturally lent them to represent a cloud. Finally, the narrative of this cloud floating on the Yamuna around the perimeter of the town recalls a local myth.
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L'art indien mis en lumière à la galerie du Jour

Source Hôtel Jeanne d'Arc
Grandement inspirée de l’exposition Magiciens de la Terre au Centre Pompidou en 1989, la rétrospective de la Galerie du Jour Agnès B. nous propose de porter un nouveau regard sur l’art de l’Inde contemporaine. Une exposition tout-à-fait singulière à découvrir d’urgence !
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"Une oeuvre est comme un chien, elle ne trahit pas"

Source Le Monde par Emmanuelle Lequeux
De nos jours, il y a tellement de choses que, à moins d'avoir trois avions et 50 rabatteurs, cela n'a aucun sens de collectionner. Beaucoup de mes confrères confondent art et marché. La collection ne répond pas pour moi à un besoin social, même si je comprends les gens qui achètent du Jeff Koons pour se donner une posture. Simplement, elle est mon seul terrain de liberté. Je sais que je passe à côté d'oeuvres qui resteront dans l'histoire de l'art, et je m'en fous. Pour moi, la seule décision possible est d'aller vers l'autoportrait, d'oublier l'Histoire et la réussite. De choisir des oeuvres car on se sent à l'intérieur d'elles, et qu'elles nous aident à ne pas devenir fou ou aigri. J'en ai assez de ces Foires catastrophiques où tout s'accélère : si l'art n'est pas capable de nous attendre, tant pis pour lui... Je n'ai aucune envie de me jeter sur le dernier artiste indien à la mode.
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Mumbai Journal: A City of Culture?

Source The Wall Street Journal by Nayantara Kilachand
Mumbai desperately needs a second major performing arts center or museum in the suburbs, and those who carp that space is a problem need only consider the proposal for the F1 track to realize that we do in fact have plenty to spare. How about a developer turns a defunct mill property into a performing arts hub instead of a mega-mall? Collectors hesitant to loan their works out frequently blame the museums for not doing better outreach, or for having poor handling procedures and infrastructure. What better way to circumvent this problem than build a museum to your own requirements? “People from Bombay have always been more open to contemporary art,” says one collector and art consultant who in the past has loaned works to the NGMA. “But where is our Devi Foundation?” Where, indeed.
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Nicolas Bourriaud nommé à la tête de l'Ecole des beaux-arts

Source Le Monde par Emmanuelle Lequeux
Nicolas Bourriaud a vécu un temps avec une princesse indienne, et travaillé comme conseiller artistique pour un milliardaire ukrainien ; il est incollable sur la musique, rock popu comme new wave pointue, et ne craint pas de raconter ses orgies hallucinatoires au cassoulet et autres vols de nains de jardin en compagnie du collectif Perpendiculaire, qu'il a fondé dès 1985 avec d'autres joyeux lurons du Maine-et-Loire. A 46 ans, il est le nouveau directeur de l'Ecole nationale supérieure des beaux-arts (Ensba) de Paris. Nommé lundi 31 octobre sur proposition du ministère de la culture, l'homme qui a créé à Paris le Palais de Tokyo avec Jérôme Sans, en 1999, relève aujourd'hui un nouveau défi. Et ce n'est pas que par la grâce du cassoulet.
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L'artiste indienne Gauri Gill remporte le prix The Grange

Source CNW
Au terme d'un vote public qui aura duré huit semaines, le Musée des beaux-arts de l'Ontario (AGO) et Aéroplan sont fiers d'annoncer que l'artiste Gauri Gill, de Delhi, est la lauréate du prix The Grange 2011. Ce prix, qui est le plus important du genre au Canada assorti d'une bourse de 50 000 $ et qui s'accompagne, pour chaque finaliste, d'une somme de 5 000 $ et d'un programme en résidence international, est la plus grande distinction artistique canadienne dont le gagnant est choisi par le public. Photographe indienne née en 1970 et installée à Delhi, en Inde, Gill a notamment étudié pendant une décennie les membres de communautés marginalisées au Rajasthan.
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Conservation hypocrisy: Again, they come for the forest

Source Firstpost India by Janaki Lenin
Centuries ago, humans and beasts lived in harmony. People harvested the fruits of the forest for their basic needs and were satisfied. They did not aspire to trade with other communities nor did they reap more than they needed. Other races invaded India, cleared the forest, established settlements, and agriculture. Then came European colonization and the amicable connection with nature was forcibly snapped. Large cats were hunted to extinction, and forests were cut down for timber. This is the widely held belief of our environmental history but it is no more than a romantic myth.
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Testing times

Source Business Standard by Kishore Singh
The market in its current state seems ripe for international sponsors, promoters and gallerists with their exposure and experience to start moving in and taking over the local markets to make up for their losses on their own home turf. If the disorganised Indian art market succumbs to an emerging East India Art Company Inc, it will have only itself to blame.
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Circle of life

Source Mydigitalfc by Jemima Raman
Tarshito, born Nicola Strippoli, is the kind of artist who thinks – in full circles and symbols – in order to let you think. His works per se, where he uses mixed media, symbolisms, and strips of gold, could at best be described as interesting. But his concepts, especially the ones that he had coordinated with artisans from India, are mind-blowing. In these works, the traditional Indian art such as warli and patta chitras go beyond their brief – and the occasional pallus. The end result, stretched into forms and symbols that Tarshito-the-thinker has outlined, proclaim the Indian tradition majestically. “Indian crafts have such depth and richness.
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Wonder of the Age Master Painters of India, 1100–1900

Source The Metropolitan Museum of Art
Indian paintings have traditionally been classified according to regional styles or dynastic periods, with an emphasis on subject matter and narrative content. Recent scholarship, however, has begun to securely link innovations in style with specific artists and their lineages. Together with a careful study of artist's inscriptions and scribal colophons, it is now possible to construct a more precise chronology of the development of Indian painting.
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Tibetan artists transports 20,000 kg of soil from Tibet to Dharamasal India for art installation

Source Art Daily
Through a long and arduous journey, the Tibetan contemporary artist Tenzing Rigdol has transported twenty thousand kilos (20,000kg) of soil from Tibet to India to build a site-specific installation at Dharamsala. Constructed as a raised platform, it allows people to stand and walk on Tibetan soil. A microphone erected on the platform invites the viewers to express their feelings. The design of the installation comes from the inspiration and interpretation of the Tibetan national flag and the history of Tibet.
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Sheba Chhachhi at Bhau Daji Lad Museum

Source Mumbai Boss
Following cohorts Sudarshan Shetty and Jitish Kallat, Sheba Chhachhi has taken over the Bhau Daji Lad museum for her new solo show, her second in the city after her exhibition at Volte earlier this year. The reclusive and highly underrated artist has brought together some of her best works: light boxes, installations and photographs, which all touch on the always-relevant topic of environmental degradation. Don’t miss “The Water Diviner”, located on the first floor in a room at the back—among the towering piles of books and newspapers are Chhachhi’s glowing book-shaped boxes, in which she niftily melds scenic, miniature tableaux of nature with photos of polluted rivers.

The Cutting Edge

Source Mumbai Boss by Deepanjana Pal
Something quite legendary happened last week. My Little Princess, directed by Eva Ionesco—no relation of the absurd theatre genius Eugene—won the Golden Gateway award at this year’s Mumbai Film Festival. There are two reasons why this is noteworthy. One is that My Little Princess belongs to that rare clutch of films that have won the highest prize in a festival despite being screened upside down, which is how it was shown at the Mumbai Film Festival. The other reason is that by awarding My Little Princess, the festival has made a statement: it’s no shrinking violet. Bring on the provocative content; we can not only watch it, but also give it $100,000 in prize money.
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See the 10 Best Booths at the FIAC

Source Art Info

> See the 10 Best Booths at FIAC

Art contemporain : comment se construisent les prix

Source Investir par Judith Benhamou-Huet
À chaque profil, sa stratégie 1 Pour les débutants dans l'art contemporain, il conviendrait dans un premier temps de s'intéresser aux relatives « valeurs sûres » de l'art actuel et de se faire une plus ample idée de leur création en visitant les expositions de musées. 2 Pour ceux qui chercheraient une aide ou des conseils, il convient aussi de choisir avec circonspection les intermédiaires et autres conseillers qui foisonnent désormais sur le marché. La grande majorité suit les vagues de la mode et des mondanités de l'art et n'est pas vraiment qualifiée. 3 Pour ceux animés par un esprit de découvreurs, l'une des stratégies possibles consiste à s'intéresser aux artistes originaires de régions du monde où le marché de l'art est en plein développement. Si les Russes achètent encore peu d'art russe contemporain, c'est en revanche le cas du Moyen-Orient, de la Chine -où il est aussi l'objet de spéculations -et de l'Inde, qui réservent des viviers d'art à explorer.
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FIAC 2011 Le marché de l'art retient son souffle

Source Le Point par Judith Benhamou-Huet
dans l'art contemporain aussi il est question de mondialisation. Pour Fabienne ­Leclerc, de la galerie ­parisienne In Situ, "les nouveaux "mastodontes" de l'art contemporain comme Gagosian, Hauser & Wirth ou White Cube, qui bénéficient de moyens financiers colossaux, pourraient conduire à une sorte de mondialisation du goût dans l'art contemporain". Celle qui défend depuis 2005 l'artiste indien starisé Subodh Gupta note que "ses pièces importantes se négociaient 30 000 euros lorsque nous avons commencé. Depuis qu'il est représenté par Hauser & Wirth, elles partent plus souvent à 200 000 euros." La directrice de la Fiac, Jennifer Flay, répond explicitement à cette inquiétude : "Je suis très attentive à ce que nous n'instaurions pas une standardisation du goût. Les petites galeries doivent être en mesure de naître et de prospérer."
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