dimanche 26 mars 2017

Meet the Big Boss of the India's art scene

Source Hindustan Times by Riddhi Doshi
In his new 5,000 sqft studio in Mumbai – something of a miracle in a city with matchbox-sized apartments – 53-year-old Krishnamachari is overseeing renovations that had been interrupted five years ago in 2012, when he founded and curated the first Kochi-Muziris Biennale. An internationally recognised art event, the 2012 Kochi-Muziris Biennale hosted the works of 89 artists from 23 different countries, and had four lakh visitors. The second edition in 2014 attracted more than five lakh visitors, as many as the six-month long Venice Biennale does. And the ongoing third edition has had five lakh visitors so far. It was because of the success and growing reputation of the Kochi-Muziris Biennale that Bose was asked in November 2015 to curate Yinchuan’s first biennale. And just a short eight months later, the event opened to huge success on September 12, 2016, with the works of 73 artists, including India’s Sudarshan Shetty, Japan’s Yoko Ono and the UK’s Anish Kapoor.
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mercredi 22 mars 2017

Muziris Biennale – A counterpoise to the Demonetization Crisis

Source Voyager's World by Anju Anna Alex
The art scenario in India has changed over the last decade, thanks to the exclusive attempt by the founders of the festival. Indian general public were not familiar with national exhibitions, let alone an International one! But this is what the founders have taken as a challenge, that is, to educate the Indian public about biennale. The Biennale is a perfect example of what wonders a public and private partnership can do! The common folk of Kerala are included and are actively involved with this festival. The makers of the event believe, if the third edition of the international event pulls off well, the economic status of the region will improve, and will also create a mark in the international setting. Though the critics don't believe Kochi is the right place for such a global event, the founders felt Kochi should be the starting point! The biennale has created a sense of fraternity, liberalism and freedom amongst individuals, groups and communities, and has also helped to build deep connections amidst them. Therefore, it is not just the good art and economic contribution that one should look at! The event evokes a sense of ownership in a person, and one just doesn't have any reason to miss it. Do visit it!
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jeudi 16 mars 2017

Christie's downsizes, cancels auction

Source Mumbai Mirror by Reema Gehi
For four years, the Christie’s annual December sale in south Mumbai was earmarked as a must-attend event in the cultural calendar. Hence the news that the international auction house has decided to discontinue its annual feature has left the Indian art world – most of whom are at the Art Dubai fair currently – hugely surprised. It has also come to light that quite a few employees have been let go from Christie’s India offices, as the auction house is downsizing globally. According to a recent report published in The Art Newspaper, “Christie’s is planning to close its second London saleroom in South Kensington by the end of this year, it announced last week. The shake-up is part of a review of the company’s operations, which are increasingly focused on Asia and online sales.”
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dimanche 12 mars 2017

A unique look at the interconnected lives of India's best-known artists

Source Mid-Day by Benita Fernando
The exhibit consists of a wall of frames and three vitrines, all of which play a game of tag with each other. At the right hand side edge, a photo of Gieve Patel finds a visual hyperlink to Sudhir Patwardhan; somewhere towards left of centre, noted critic Geeta Kapur is seen in her many avatars, passionately questioning the Lalit Kala Akademi or conversing with Mulk Raj Anand about a show on Amrita Sher-Gil, whose nephew Vivan Sundaram, Kapur is married to. And about Sundaram's Kasauli workshops at the top of the exhibit…well, you get the point. A collage of endless references, the many tabs that you open on your browser - that's That photo we never got. Adding to this collection are snatches of conversations and writings, all printed in Courier New font on green legal paper. If it's a little hard to read, Gupta says that's the effect she wants to achieve - teasing visitors to move in closer to view the specifics, and take a step back to get the big picture.
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samedi 11 mars 2017

Stuck in time & space: A photography exhibition that brings out old narratives

Source Sunday Guardian by Bhumika Popli
For Chaudhury, the challenge was to show the fragility of memory. “How to photograph memory was the question I was repetitively asking myself. “Consider a book written some 200 year ago and nobody is reading it anymore then there is certain kind of memory that is fading in various ways: forgetting the author and eaten away by rats. He further adds, “One can say that a book really becomes a tangible way of exploring the flashback and library turns to a museum where book is an artifact representing the memory.” In the City, a Library, is just an initiation, for there are plans in the pipeline, long-term plans. As Pinto says, “Yes, there is the Shelf of Limitless Desire, a video project. There is an audio exercise in library memories. There are lots of plans, constrained by time, and money.”
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vendredi 10 mars 2017

Half the lots at Indian art auction remain unsold

Source Mid-Day by Benita Fernando
The typically buzzing saleroom of Saffronart was clouded over last evening by reticent bidders, and speculations over the thin market for miniatures. One of India's leading auction houses, Saffronart held its sale of classical Indian art, which comprised sculptures and miniatures, yesterday. Out of the 81 lots that were to go under the hammer, 46 - that's more than half the number - didn't meet their reserve prices and were unsold. A double whammy of the lukewarm market for miniatures (a similar outcome was seen at the Christie's Mumbai auction in December 2016) and the high estimates of the sculptures is suspected to be behind the disappointing sales, alongside the continuing demonetisation effect.
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FOCUS Photography Festival Mumbai

FotoFest Biennial 2018: a closer look at contemporary India

Source Architectural Digest by Avantika Bhuyan
The first and longest running international photographic arts festival in the United States, FotoFest 2018 has announced the theme of its upcoming edition as “India: Contemporary Photography and New Media Art”. “This is the first time that India is being looked at so closely at the FotoFest,” says Steven Evans, executive director, FotoFest International, who is currently in India, along with Sunil Gupta, lead curator of the 2018 edition, to meet artists across the country and look at their work. “This in an exciting juncture for India and its artists, as globalization and technology has enabled more people to become artists,” he says. The FotoFest Biennial will take place between March 10 and April 22, 2018 in Houston, Texas.
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mardi 7 mars 2017

Classical Indian Art Has Been In The Shadows For Too Long

Source Huffington Post by Hugo Weihe
Indian art, its tradition reaching back 5000 years, has been acclaimed around the world for centuries. Classical Indian art brims with the power of narrative and the emotive qualities of colour, form and concept. Sculptures embody the grace and movement of dance. Court scenes and the poetry of ancient texts come alive in the rich colours and composition of miniatures. Many leading modern Indian artists, including M F Husain, S H Raza and Manjit Bawa, developed their own vocabularies by studying miniatures, manuscripts and sculptures. Yet, the market for Indian art within the country is dominated by a demand for the modernists. This makes the need for building a market for heritage in the country all the more urgent.
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lundi 6 mars 2017


Source Bangalore Mirror by Suresh Jayaram
The folk in contemporary Indian art survives in frequently bewildering heterogeneity. In 1960s, Jagdish Swaminathan abandoned his career as a journalist and became a professional painter. In August 1962, he founded Group 1890. The name was derived from the address where the first meeting took place. Group 1890 had no regional or aesthetic affiliations and did not promote any particular type of painting. Rejecting ‘vulgar naturalism’, the ‘pastoral idealism’ of the Bengal School and the ‘hybrid mannerism’ of European modernism, it urged artists to draw inspiration from the natural world and interpret it into symbolic and abstracted forms; to see phenomena in their ‘virginal state’.“Swaminathan’s artistic ambition was to establish a continuum between folk, tribal, and urban contemporary art. Questioning the notion that Modernism developed from an encounter with the West, he sought to redefine contemporary practice by taking into account the philosophical underpinnings of Indian Art. A truly Indian art could only develop, he felt, by overcoming the divide between art and craft,”’ says Amrita Jhaveri.
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samedi 4 mars 2017

Redefining the Indian art mart

Source The Hindu by Georgina Maddox
Gaurav Bhatia likes to wear a vermillion scarf with his designer suits, usually Caraceni or Kiton. He has that little bit of the eccentric to him which sets him apart from most corporates. His love for art and culture was nurtured from a very young age, thanks to his mother. He was 13 when he bought his first antique bookcase and soon became the perfect connoisseur, with a nose for Champagne (Krug being a favourite) and fine art. Bhatia, 41, is now settling well into his role as the new Managing Director, Sotheby’s India — one of the oldest auction houses in the world.
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jeudi 2 mars 2017

His Muse Is Metaphysics:The Art of Jitish Kallat

Source The Chicago Maroon by Samuela Mouzaoir
Epilogue, a beautiful labyrinth of photos, features the roughly 22,000 different moons that Kallat’s father would have seen during his lifetime, replacing them with traditional Indian roti bread. The effect was a touching tribute to Indian life and culture. Kallat’s latest project is a highway roundabout in Germany made of road signs, bent into mobius strips and arranged into a towering flower-like structure. The signs—with directions to everywhere yet nowhere—serve as both the promise of a new path and as a reminder of the infinite size of the universe.
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dimanche 26 février 2017

Decoding the Indian art market

Source DNA by Gargi Gupta
For all the limelight surrounding exhibition openings and auction prices, the Indian art market remains difficult to measure. Prices of artworks, for instance, remain shrouded in mystery, leaving auction sales as the only real, quantifiable measure of growth or sentiment. Two recent reports by art-market research firms, one by Delhi-based Artery India and another by Art Tactic, which operates out of London, throws some light in the darkness. While the latter’s reports are part of a regular annual exercise that it has been conducting for the past decade or so, Artery India draws interesting conclusions based on an analysis of the 500 most expensive Indian artworks sold at auctions. A summarised view of the Indian art market the reports present.
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mercredi 22 février 2017

How the Indigenous art recognised by Unesco draws us into Australia's real history

Source The Guardian by Paul Daley
This week the genesis of modern desert Indigenous art movements will receive fitting acknowledgment with the inclusion on the Unesco Australian Memory of the World register of Warlpiri crayon drawings created at Hooker Creek in 1953 and 1954. Anthropologist Mervyn Meggitt lived for 10 months at Hooker Creek (Lajamanu), on Gurindji land, to which the white authorities had forcibly moved the Warlpiri from their traditional country and settlement Yuendumu, hundreds of kilometres away in the Tanami Desert. He enlisted 21 men and three women to do crayon drawings of whatever they chose. The Warlpiri, disconnected from – and desperately homesick for – their traditional lands, drew pictures associated with their country and their dreaming stories.
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After a Decade Painting Signs on Delhi’s Streets, Akhlaq Ahmed Is Breaking into the Art World

Source Artsy by Charlotte Jansen
In early February, when the Delhi-based painter Akhlaq Ahmed unveiled a giant mural at the entrance to India Art Fair, the country’s largest contemporary art event, few among the crowd of international attendees could have guessed what the artist had been through to get there. On Delhi’s streets, Ahmed—who goes by the name Sabbu—is something of a local phenomenon. Since 2004, the artist has painted thousands of signs for food stands and juice sellers around the Indian capital, making him one of the city’s best-known artists—and one of only very few sign painters still practicing the trade.
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Indian Street Art, Women, & Claiming The Right to Public Spaces

Source The Aerogram by Dipti Anand
Once home to stray graffiti and innocuous sentences of love and heartbreak, the busiest New Delhi neighborhoods are seeing a rise in public street art, aimed at the general public for intellectual and interactive consumption. Independently, artists like Daku, Tyler, Ranjit Dahiya, Yantr, Lady Aiko, Axel Void and many others have been leaving their mark with fail-safe yet diverse thematic emblems — from Bollywood icons to mythological figures to political satire to redefined gender roles. St+Art, a leading enterprise for the cause with initiatives in Delhi, Hyderabad and Bangalore, describes its street art projects as a step towards building “an open air gallery accessible to everyone” as well as enabling “artists to listen to, and interpret the city by being agents of its transformation and creating conversations around local stories.”
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dimanche 19 février 2017

La Biennale de Kochi, tout le feu sacré de l'Inde

Source Le Figaro par Valérie Duponchelle
Après le triomphe de sa première édition en 2012, cette biennale indienne réussit à exister autrement que selon les codes de l'art contemporain établis à New York ou Londres. Beaucoup de peintres, beaucoup de fonds chez ces 97 artistes invités à œuvrer, pendant 108 jours, soit jusqu'au 29 mars. Aspinwall House marqua les débuts commerciaux de la Aspinwall & Company Ltd. créée en 1867 par le commerçant anglais John H Aspinwall. Il y négocia huile de noix de coco, poivre, bois, huile de citronnelle, gingembre, curcuma, épices, peaux, puis noix de coco, café, thé et caoutchouc. C'est le point central de la jeune Biennale de Kochi. Bienvenue dans le Kerala, état au sud-ouest de l'Inde qui s'étire sur 900 km, le long de la côte que borde la mer des Laquedives, tout en haut de l'Océan indien. Marqué par son réseau de lagunes et de canaux, il est parfois surnommé «le pays de Dieu» (God's own land).
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vendredi 17 février 2017

Art ranging from $1000 to $8m at India Art Fair 2017, 72 exhibitors showcased

Source Everything Experential
The recognition of India Art Fair’s place and significance, as both aggregator and facilitator, driving the Indian and South Asian art market in a global context, was re-affirmed early in 2016 when MCH Group, the owners of the Art Basel fairs, announced their partnership with India Art Fair, in their first commitment to their new Regional Art Fair initiative. The initiative is designed to bring a portfolio of the world’s leading regional fairs together to mutually benefit from shared knowledge, contacts and regional expertise in order to help each fair realise it’s maximum potential in a global context. In 2018 India Art Fair will mark its 10th anniversary. With MCH Group’s involvement, the fair will progress as a leading face-to-face, and digital platform, supporting galleries and partners with a broader reach throughout the year. Endorsing the results of the fair, here is what a range of some of the most significant collectors and global art world figures said about this edition of India Art Fair and the fair’s future...
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Booklovers and art collectors rush to India

Source Newsweek by John Elliott
MCH Swiss Exhibitions (Basel), headed by Marco Fazzone, plans to invest in about five regional art fairs around the world and will encourage links for them to liaise and expand. The IAF is its first investment and another is expected in Europe soon, plus one more elsewhere maybe later this year. In India, MCH plans to work with galleries to generate contemporary and experimental exhibits at next year’s fair and open up a new and more stimulating horizon.MCH will also be increasing the role of the internet and digital communications. Eventually, the art fair will have an app that will enable, for example, a visitor to access information about a work by focussing on it with a mobile phone. That will generate enormous potential for increasing knowledge as well as for art sales online, which many galleries now say are becoming an increasingly significant part of their business. This year, the organisers and galleries were specially cautious about what was displayed because they were worried that India’s demonetizing banknote ban, which was suddenly imposed by prime minister Narendra Modi early last November, would restrict sales because of the uncertainty about the economy and lack of available cash.
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A Marrakech, quand la bourgeoisie marocaine construit des musées plutôt que des golfs

Source Le Monde par Roxana Azimi
Il y a trois ans, Mohamed Alami Lazraq voyait grand. « Certains doivent se dire que je suis fou, nous avait alors confié le patron du groupe immobilier marocain Alliances, un homme sec et pressé, collectionneur d’art depuis quarante ans. Comme je ne m’imagine pas vendre une seule œuvre, et que je ne peux pas tout exposer dans mes bureaux, j’ai pensé à un musée ». Pas un petit musée: 6 000 m2 consacrés à l’art contemporain africain, construit au carrefour de trois terrains de golf, en face du « resort » Al-Maaden à Marrakech.
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De simple curiosité à véritable institution: l'Outsider Art Fair a 25 ans

Source Hyperallergic by Edward M. Gómez
L'édition 2017 de l'Outsider Art Fair de New York marque le 25e anniversaire de ce qui est devenu, sur le marché de l'art international, l'un des forums d'exposition les plus particuliers, les plus animés et parfois les plus controversés pour des formes artistiques défiant souvent toute classification. Connu dans le monde de l'art sous le nom de "Sandy", Sanford L. Smith se rappelle exactement quand son équipe de production d'événements spéciaux, renommée pour la réussite de ses foires artistiques selon des thèmes spécifiques, a décidé d'en consacrer une au domaine alors émergent de l'art outsider. “La conjoncture dans ce domaine se trouvait à un moment charnière", me dit Smith. La première Outsider Art Fair produite en 1993 par sa compagnie, Sanford L. Smith + Associés, était une excroissance de son populaire Fall Antiques Show. Cette foire aux antiquaires exclusivement américains avait été la première en son genre et présentait aussi des artistes populaires et autodidactes. “C'est Caroline Kerrigan et Colin Smith qui m'ont approché avec l'idée de créer une foire totalement séparée pour mettre en avant la croissance du marché outsider. Je me suis demandé si cela allait marcher. Ils ont élaboré tout ça et nous nous sommes lancés".
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A conversation with Subodh Gupta

Source Ocula by Tess Maunder
Choosing the location was of course a joint decision between my gallery and I. I hadn't done a show in Mumbai in a long time. The first time Nature Morte took me to see the space, despite not being able to fully see it because of all the television sets that were in place, I was immediately excited about it. I always find working with unconventional spaces to be exciting, as the work takes on a life and form of its own in the space. Also, the fact that it was a film studio was also of course very close to my heart. I've always been close to performance, as I started out in street theatre before I became an artist and my work often has a strong performative element. That performative element really came through in a lot of the work in this show, so it was interesting to have it occupying a space that has been created for performances of a different kind.
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India’s women artists may have evolved with time, but have the issues they’re fighting done the same?

Source Your Story by Tarun Mittal
The women of India have been embroiled in a constant struggle against stigmatisation and persecution by society for centuries. All the while, countless attempts have been made to spread awareness about, and ultimately bring to an end, the charge of horrific gender-biased crimes (like sati, dowry harassment, and sexual assault) perpetuated in the name of a misguided notion of ‘culture’ and ‘tradition’. In this article, we go through the history of Indian women artists and the issues they’ve addressed in their work to see what, if anything, has changed in all these years.
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25 ans d'Outsider Art Fair son directeur Andrew Edlin nous parle de l'évolution du marché

Source Art Newspaper par Gabriella Angeleti
Mon oncle Paul Edlin, qui est décédé, était un artiste. Parce qu'il était sourd, il était incapable de plaider lui-même pour son art et restait donc chez lui à créer. Quand j'ai vu ses œuvres, j'ai été très touché et j'ai montré son travail à quelques marchands de SoHo qui m'ont dit que c'était de l'art outsider. On était en 1995 je crois et c'était la première fois que j'entendais ce terme. J'ai finalement rencontré quelqu'un de l'American Primitive et la galerie a organisé en 1996 une exposition de ses œuvres dont 14 ou 15 ont été vendues. Le critique d'art Holland Cotter a écrit un article sur l'exposition pour le New Times et l'oncle Paul, alors âgé de 66 ans, était fou de joie.
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Breathing Life Into India's Arts And Crafts For Future Generations

Source The Huffington Post by Nayantara Sabavala
Our Indian cultural heritage constitutes a rich legacy that needs to be valued. It is vital to realise that art and craft cannot be treated as something elitist and ephemeral. It is instead integral to understanding the diversity and the beauty of our country and engaging with communities. Interventions to preserve and sustain these ancient cultural forms are a mode for not only celebrating the rich traditions of the past, but also learning from them in a way that defines the future. This integration of art with life will ensure that India once again emerges as a great civilisation.
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