vendredi 23 juin 2017

Here's why local art collectors are in Germany this summer

Source Chicago Business by Lisa Bertagnoli
Interior designer Anne Kaplan, a board member at the Museum of Contemporary Art Chicago, went to the show on her own in June, starting in Athens, Greece, a new venue for this iteration of Documenta. "The exhibitions are powerful and poignant as we see the movements of goods, material and humans who are displaced by conditions beyond their control," Kaplan said in an email. Work she found intriguing includes photographs by Indian artist Gauri Gill and sculptures from Nigerian-born Otobong Nkanga. Works by both will appear in "Many Tongues," an upcoming survey of art from the Middle East and South Asia assembled by Omar Kholeif, MCA's senior curator. The show is scheduled to open Oct. 26, 2019.
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mercredi 21 juin 2017

Experimenter Curators’ Hub

Source Experimenter Kolkata
Experimenter Curators’ Hub is a platform in developing and sustaining discourse on curatorial practice and exhibition-making through critical discussion and debate. Structured as a deeply intensive 3-day program, every year the hub invites some of the foremost curators of the world to present their practice with reference to recent exhibitions curated by them. The audience at Experimenter Curators' Hub plays an active role in this exchange and contributes significantly to the conversations. The final day ends with a moderated panel discussion with all the participating curators, reflecting on the key aspects that emerged over the three days.
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mardi 13 juin 2017

Art-Fair Economics: Why Small Galleries Do Art Fairs Even When They Don’t Make Money

Source Artnet by Julia Halperin
Think art fairs are all about sold-out booths, comfortable shoes, and exclusive dinner invitations? Think again. For many small to mid-size galleries, fairs—like Art Basel in Basel, which opens to VIPs today—are an increasingly nail-biting gamble that involves paying hundreds of thousands of dollars up front with no guarantee of a payoff. As the middle market shrinks, many dealers are finding they can’t afford to do fairs—but they can’t afford not to, either. “It’s very hard to estimate what the revenue will be, so a gallery’s decision to do a fair is highly uncertain,” says Olav Velthuis, a professor at the University of Amsterdam who specializes in economic sociology. “People don’t realize that fairs are loss leaders for many small galleries.”
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lundi 12 juin 2017

A look inside artist YG Srimati’s retrospective at The Met

Source Architectural Digest by Avantika Shankar
One of India’s most prolific modernists, YG Srimati (1926-2007) has only recently been brought back to public attention by a retrospective at the Metropolitan Museum of Art in New York. YG Srimati broke into the Indian arts scene at a time of immense political activity. The Independence movement was in full swing, British cultural dogma was being overturned, and there was a renewed interest in Indian cultural traditions. Indian artists were revisiting their ancient artistic roots, repurposing old stories from religious mythology to depict contemporary issues, and through the subversion of their Western classical training, were paving the way for an entirely new artistic tradition. The liberation of India brought with it the birth of the Indian modern art movement.
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Not for Art’s Sake

Source The Indian Express by Vandana Kalra
The Venice Biennale is deemed to be the “Olympics of the Art World”. The participating artists are among the finest from across the globe, and the national pavilions strive to outdo themselves. But in recent years, India is nowhere to be seen. It has been to the Biennale only once, in 2011, helmed by the Ministry of Culture and the Lalit Kala Akademi. There has been no official showcase since, though our artists have been part of the Biennale’s central exhibition a number of times. A significant first was at the last edition of the Biennale in 2015 when The Gujral Foundation funded the showcase titled ‘My East is Your West’, with works of Mumbai-based artist Shilpa Gupta and Lahore-based Rashid Rana.
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mardi 6 juin 2017

Journée portes ouvertes samedi 10 juin (sur inscription)

Source Galerie Hervé Perdriolle
De l'art contemporain indien à la Figuration Libre en passant par l'art brut, venez découvrir les passions et la collection d'Hervé Perdriolle dans sa galerie en appartement. Journée portes ouvertes le samedi 10 juin de 10h à 19h. L'adresse complète vous sera communiquée exclusivement sur inscription par mail : h.perdriolle(at)

dimanche 28 mai 2017

Tyeb Mehta painting breaks world record

Source DNA
It was 70 years ago that six of India's contemporary artists – FN Souza, MF Husain, SH Raza, SK Bakre, KH Ara and HA Gade – formed The Progressive Artists’ Group (PAG) in 1947. The 22nd edition of the annual London South Asian Modern + Contemporary Art auction commemorated this vital juncture in Indian art history on May 25 evening. Sixty two of the 68 lots collectively sold for £5,901,625/$7,660,310 and among these 14 sold above $100,000. Tyeb Mehta’s 1994 work, Untitled (Woman on Rickshaw) painting, set a new world auction record for the artist and highest price – £2,741,000/$3,557,818 – in the South Asian Art category globally in 2017. The painting, an analogy for strife and struggle, shows a woman atop a hand-pulled rickshaw – a leitmotif that popped up in Mehta's works since 1950s. “The rickshaw is not a simple means of transport but a sign of bondage,” the late artist is to have said of his work.
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mardi 23 mai 2017

A confluence of Indian Progressive artists in London

Source Architectural Digest
Christie’s London celebrates the 70th year of the Progressives and contemporaries in contemporary Indian art with their South Asian Modern + Contemporary Art auction to be held on May 25, 2017. Christie’s states that over two-thirds of the works to be offered are sourced from private collections and are fresh to the market—these are works which have been acquired directly from either the artists or their galleries and are coming to auction for the first time. Christie’s also states that exceptional examples of rare, early works by all six original members and several of their illustrious associates will be included in the sale. These works recognise these luminaries as the standard bearers for avant-garde Indian modern to this day.
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lundi 22 mai 2017

Aces! Christie’s to auction deck of cards painted by 54 Indian artists

Source The Hindustan Times by Rachel Lopez
n 1976, London’s JPL Gallery hit upon a unique plan for a collection of works. They distributed a standard deck of playing cards (including two Jokers) among 54 top British artists and asked each of them to create their own, distinctive version of the card they received. Artists like Howard Hodgkin, John Hoyland, Patrick Heron, Allen Jones, Maggie Hambling and David Hockney, took up the challenge, contributing to create a Deck of Cards, a collection that represented British art in a cool, new way. Last year, the idea got a reshuffle. The British Council commissioned 54 of India’s top artists to create Taash Ke Patte, a new deck of cards. Artists as varied as Jyoti Bhatt, Nikhil Chopra, Shilpa Gupta, Sudhir Patwardhan, Raqs Media Collective, Anjolie Ela Menon, Syed Haider Raza, Thukral & Tagra and Waswo X Waswo each extended their style to a 36 cm x 30 cm playing card.
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dimanche 21 mai 2017

The Big League

Source Indian Express by Vandana Kalra
This is the first year that the prestigious Documenta has forked out of Germany, with a parallel exhibition at Athens, Greece. It is also the year when the contemporary art festival has one of its largest contingents from the Indian subcontinent: more than 16 from a total of 160 participants. Representing the Indian modernists are Nilima Sheikh and Ganesh Haloi, as well as the works of the late Amrita Sher-Gil, Chittaprosad Bhattacharya, Binod Behari Mukherjee and his student at Santiniketan, KG Subramanyan. The contemporaries include Amar Kanwar, Gauri Gill and Nikhil Chopra. While the first leg of the festival has already commenced in Athens, and is on till July 16, the curtains go up in Kassel on June 10.
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mardi 9 mai 2017

‘We Escaped a Nightmare’: Art World Welcomes New French Leader Macron

Source Artnet News by Brian Boucher
As results from the French election started to roll in on Sunday, visitors and exhibitors at this week’s TEFAF New York fair crowded around their glowing iPads, awaiting the results. The art world has reacted with enthusiasm and relief to the decisive win of the centrist candidate Emmanuel Macron, who scored some 66.1 percent of the vote over far-right contestant Marine Le Pen, who scored only 33.9 percent. “We escaped a nightmare,” said Paris dealer Kamel Mennour. “Vive la France! Vive l’Europe! Vive Macron!”, declared dealer Larry Gagosian, who maintains a venue in Paris among his 16 locations, making a rare public comment via email. “This is exactly what we needed at this point,” said Austrian dealer Thaddaeus Ropac. “He was the most pro-European politician of all of them.”
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mardi 2 mai 2017

Henri Cartier-Bresson India in full frame

Source The Rubin Museum
Disputed borders, refugees, charismatic leaders, assassinations—the India of the mid-century does not sound so distant from the world today. It was a time and place captured expertly and in great depth by the pioneering photographer Henri Cartier-Bresson (1908–2004). In 1947 Cartier-Bresson co-founded the internationally renowned cooperative photographic agency Magnum Photos. Later that same year he undertook his first trip to India as part of a three-year stay in Asia. At the time, India was undergoing a massive political transition, having gained independence from British colonial rule and been partitioned from Pakistan. In January 1948 Cartier-Bresson traveled to Delhi to meet with one of the key players in that transition, India’s great leader Mahatma Gandhi. It would be one of Gandhi’s final meetings before the leader’s assassination at the hands of a Hindu nationalist on January 30.
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samedi 29 avril 2017

A Spectacular Cross Section of Contemporary Indian Art

Source Hyperallergic by Sarah Rose Sharp
Visions from India presents ghost towns, purgatorial waiting rooms, mythically impassable gates, skeleton dogs, unopened lunchboxes, literal no-mans lands. This seems, at heart, contradictory to a country known for its sounds, its smells, its churning biomass. The preoccupation seems to be with that of environment, material culture, and waste — and to be sure, these are issues as specific to India as they are universal. The works are irreproachable, and the Pizzuti’s collection is nothing if not cohesive — not to mention, offering a rare show that equally represents male and female artists. So the visions of India offered by the Pizzuti Collection is by no means negative, but it is perhaps a bit oddly quiet, oddly spare, presenting a profound contrast to the more common associations of the place from which it draws inspiration.
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mercredi 26 avril 2017

Smells Like Home

Source The Indian Express by Vandana Kalra
There are more than 20 of them on the wall — rough sketches of homes that people have left behind. While some focus on the interiors, others give an outside view of the green valley and the chinar trees in the backdrop. Artist Priyanka Choudhary is quick to explain that her collection comprises drawings made by Kashmiri migrants in Delhi, drawn from their recollections of their homes. The works are part of the exhibition “A Proposition, A Playground, A House”, where the Foundation for Indian Contemporary Art has invited artists to respond to an abandoned house in south Delhi’s Pamposh Enclave that has been vacant for years. Choudhary’s exhibit Pahunch Ghar: to reach home, has an accompanying video in which the migrants describe their drawings.
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mardi 25 avril 2017

Indian Popular Visual Culture: The Conquest of the World as Picture

Source Dr. Bhau Daji Lad Museum
The exhibition offers a critical viewing of the role played by popular Indian imagery of the nineteenth and twentieth centuries in the construction of cultural, social and national identities. Nineteenth century India witnessed several major cultural and technological transformations – the pedagogy of the colonial art school; exposure to European pictures circulating in the Indian market; the advent of the techniques of engraving, lithography and oleography; the emergence of photography and the proscenium stage – that led to the growth of a new popular imagery.
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Frank Cohen's contemporary collection gets set for sale Down Under

Source The Telegraph by Colin Gleadell
British collector, Frank Cohen, or “the Saatchi of the North” as he hates to be called, is always up for something unexpected, and his next move is no exception. This week, a sampling of 80 works from his contemporary art collection goes on view at a 30,000 square foot film studio in Fulham, west London, prior to going to auction in September - not with Sotheby’s or Christie’s in London or New York, but 10,550 miles away with relative newcomers, Mossgreen, in Sydney, Australia. The publicity doesn’t mention Cohen’s name (“a British collector who wishes to remain anonymous”, says Mossgreen), but there is no mistaking where it has come from. Most of the works, by a mixture of Chinese, Korean, Indian, European and American artists, have been exhibited at Cohen’s Initial Access gallery in Wolverhampton, or in venues such as the Royal Academy, or his briefly active Dairy Arts Centre in London. Mossgreen, needless to say, is delighted.
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mercredi 19 avril 2017

Hype of the 'mad genius': Pop culture romanticism of mental health and contemporary art

Source The News Minute by Prateek Sharma
Contemporary art in India too has a cloud of mental illness floating above its roof. It’s only recently that a lot of actors, or celebrities as we like to address them, publicly addressed their battle with mental illness. But in the realms of powerful overcoming stories and somewhat faulty campaigns, we overlook artists who are devoted on the grassroot, while also confined in the ghastliness of depression, OCD (Obsessive compulsive disorder), bipolar and anxiety disorders, and the like. “It’s a complicated relationship. My mental illness shaped itself around my skills as a painter. It affects me to an extent where I know how a particular sketch is going to turn out and I have to stop right there and start another. Drawing does help because it keeps away the mood swings but it has to be constant, as soon as I stop, it all comes back,” says Maanas, a painter and visual artist based out of Chennai who was diagnosed with manic-depressive three years ago.
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Form and function

Source The Hindu
Two online auctions that bring together old and new traditions of Indian art and design ‘The Design Sale’ and ‘Living Traditions, Folk and Tribal Art’ will be held April 18-19 and 19-20 respectively in Mumbai, Saffronart has announced. The sales present functional objects highlighting their craftsmanship, beauty and historical significance. About ‘Living Traditions, Folk and Tribal Art’, Hugo Weihe, CEO of Saffronart said: “Objects such as masks and breastplates form an important part of rituals and ceremonies [and] continue to inspire modern and contemporary artists in India and around the world.” The Design Sale includes a substantial collection of Art Deco furniture of the 1920s and 30s first showcased in India by influential royal families, trade merchants and well travelled entrepreneurs who had seen it in Europe.
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vendredi 14 avril 2017

mercredi 12 avril 2017

Auction features objects from Indian folk, tribal traditions

Source India
“With ‘Living Traditions, Folk and Tribal Art’ auction, we continue our efforts to establish and develop folk and tribal art as an important category at Saffronart. The lots on offer represent the depth and diversity of India’s indigenous art traditions,” Hugo Weihe, CEO of Saffronart, said. “Their significance in Indian customs goes back centuries. These traditions continue to inspire modern and contemporary artists in India and around the world, while offering collectors a chance to acquire an aspect of Indian culture that has long been overlooked,” Weighe said.
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dimanche 9 avril 2017

Other histories of India

Source The Hindu by Vidya Ram
Curator Mark Elliot says he was very conscious of the risk of it ending up as an exhibition by a white man focussing on stereotypical Western notions of “exotic” India. However, Elliot, who conducted his Ph.D research at the Indian Museum in Kolkata and has spent nearly two decades working with museums across India, believes the pieces on display have stories that need to be told, heard and elicited in India as much as Britain. Because the pieces emerged from the museum’s archives, often with scant information about the creators, the exhibition has had to rely much on the voices of those who brought the pieces to Britain. Elliot hopes the exhibition—which will be on show for over a year—will eventually help reveal the stories of the creators and spark discussion and debate on these communities.
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mercredi 5 avril 2017

Inaugural Asia Week New York Contemporary Debuts May 2-10

Source Artfix Daily
Following on the heels of Asia Week New York’s successful 10-day round of exhibitions and auction sales, which generated an outstanding $423 million, these seven esteemed galleries are mounting contemporary art exhibitions to tap into the buzz and energy from other modern and contemporary art fairs going on in Manhattan at the same time. To celebrate this new edition, each gallery will present the works of renowned Asian artists and will hold open houses on Friday evening, May 5.
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mardi 4 avril 2017

7 Hauntingly Beautiful Pieces From India's Biggest Art Event, The Kochi Muziris Biennale

Source Forbes by Leeza Mangaldas
The latest edition of the Kochi-Muziris Biennale, India’s biggest art event showcasing contemporary artists from around the world, concluded last week. Given the sense of turmoil, inequity and displacement that currently dominate the global socio-political landscape, it was fitting that some of the most powerful works on display challenged the viewer to grapple with important issues. These are seven that were particularly evocative.
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dimanche 2 avril 2017

Ethnic joins mainstream

Source The Hindu by Chitra Balasubramaniam
It is usually presumed that traditional folk art is passed down as a hereditary skill. It is not something which is taught as a structured curriculum at an institute where certificates are handed after completion of the course. But MAI has rewritten the script. Not only that, akin to any other mainstream school of art, the founders and directors help the students sell their work, curate exhibitions, mentor them and link them to gallerists who market their work. My initiation into their activities was at an exhibition showcasing the work of their students. What had stunned me was how Peter Zirnis, curator, painstakingly took me around the entire exhibition explaining the works and more importantly giving a background of the artists. The commitment was that of a gallerist/gallery owner promoting the works of the artist. It showed a form of marketing folk art giving it the same space as mainstream art, at the same time giving individual recognition to the artist, a price appreciation to the buyer given the individualistic dimension of the art. Lina Vincent Sunish, Director of Exhibitions at the Mithila Art Institute, says, “As an art historian and curator, I have been able to encourage a few ex-students to document and present their work professionally, thereby increasing their chances of being selected by mainstream galleries.”
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A Dialogue Grows around Contemporary Aboriginal Australian Art

Source Blouin Art Info by Margaret Carrigan
Contemporary Aboriginal Australian art is having a moment in America. Within the last few years, several US institutions have mounted shows dedicated to the current creative practices of Aboriginal artists. Take, for instance, the Seattle Art Museum’s “Ancestral Modern: Australian Aboriginal Art from the Kaplan & Levi Collection,” which originally opened in 2012 and is now slated to travel to multiple museums through 2018, starting with Nashville’s Frist Center for the Visual Arts in June. Or last year’s “Everywhen: The Eternal Present in Indigenous Art from Australia” at the Harvard Art Museum. Or “Marking the Infinite: Contemporary Women Artists from Aboriginal Australia,” originally organized by the Nevada Museum of Art and currently on view through May 14 at Miami’s Frost.
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