CONTEMPORARY ONE WORD SEVERAL WORLDS

mercredi 22 novembre 2017

Nalini Malani, une artiste pionnière indienne au Centre Pompidou


Source Le Quotidien de l'Art par Magali Lesauvage
Le Centre Pompidou consacre une rétrospective à l’artiste de 71 ans, pionnière en Inde de la performance et de la vidéo, dont l’œuvre mouvante mêle récit intime et drames de l’Histoire. Née en 1946 à Karachi (au futur Pakistan), un an avant la partition des Indes Britanniques en deux États (Inde et Pakistan), Nalini Malani a connu dès l’enfance l’exil à Calcutta, puis à Bombay. De ce lien intime avec les tourments de l’Histoire, l’artiste indienne a fait le fil conducteur de son œuvre, depuis la fin des années 1960 jusqu’à aujourd’hui. Parmi les premières œuvres de l’artiste, la vidéo Onanism (1969) montre sans fards l’orgasme d’une jeune femme et par là même l’audace de Nalini Malani à aborder le thème de la sexualité féminine, sujet encore tabou en Inde aujourd’hui.
> lire plus

Given Power- From Tradition to Contemporary Folk and Tribal Art Exhibition


Source Global Fashion Street
Two contemporary galleries, – Exhibit320 and Blueprint12 – have come together to create a platform for Folk and Tribal Art.​ Given power – From tradition to contemporary’, a show that is an endeavor to showcase a selection of works collected from the interiors of Madhya Pradesh, West Bengal, Bihar and Maharashtra. The exhibition will inaugurate with a private preview on ​Thurs​day 23rd November 2017. The preview will be followed by a month long public viewing from ​Friday 2​4​th November – 24th December 2017.
> read more

Jaipur’s new sculpture park welcomes contemporary Indian art with traditional architecture


Source Architectural Digest by Peter Nagy
High above the city of Jaipur, perched like an eagle looking for prey, stands the Madhavendra Bhawan palace. Built by Sawai Madho Singh at the cusp of the 19th and 20th centuries, it is the most finely preserved element of the rambling Nahargarh Fort, which occupies the opposite end of the ridge from its more famous cousin, Amer Fort. Nahargarh, which dates back to the first half of the 18th century, is today little more than an impressive entry gate, an undulating wall following the geography of the hilltops, and an overgrown amphitheatre. This only creates a more incongruous setting for the stoicism of Madhavendra Bhawan, rigid in its geometric symmetries and heavyset countenance.
> read more

mardi 21 novembre 2017

You Can Help Rehabilitate Thousands Of Indians, With Just Art

Source Youth Ki Awa Az
Imagine a world without art: it would be drab, grey and probably unhappy. Thankfully, we live in a world where art is around every corner, be it in the form of graffiti, a painting in a fancy gallery or just a simple scribble made by a child. Art has been an essential form of expression right from the days of the early man painting in caves. This is exactly what the people at ArtReach think too. This unique not-for-profit aims to reach children and young people living in marginalised communities across India and transform their lives. They strive to bring contemporary and traditional Indian and international artists into care homes, homeless shelters, Dalit communities, remote tribal villages and municipal schools to teach and create art, shaping new opportunities.
> read more

5 art industry insiders answer the biggest FAQs about buying art

Source Vogue India by Arundhati Thomas
Hire an art consultant if you wish to consider collecting art seriously and on a broader scale, and if you don’t have the desired knowledge or don’t know where to begin. Look for a person whom you can trust completely, someone who understands your taste, aspirations and concerns to help you collect as you would like to collect, and not merely to tick off names from a list. If you are, or wish to be, a serious collector, please remember you have a disease, and just like any other disease you need to get the right doctor to help cure it. But with art, you don’t need to cure it completely; you just need to control your levels in certain ways so you may collect meaningfully over the long term and with focus. A good consultant will understand your mind and heart in how you respond to artworks, and help you walk on that path over time to get things that will resonate with you.
> read more

jeudi 16 novembre 2017

Inside the palatial New Delhi home of artist and collector Shalini Passi


Source Architectural Digest by Nikhil Khanna
Shalini Passi, her husband Sanjay, and son Robin, live in a sweeping curve of a home in New Delhi’s posh Golf Links neighbourhood. The house, shaped like a gentle boomerang, overlooks the 220 rolling, bucolic acres of the Delhi Golf Club; on some days you can even hear the whack of a Callaway on the 8th tee. Shalini’s house, however, is anything but bucolic—instead it is astonishing, filled, as it is, with art from floor to ceiling.
> see more

In Pictures: Take a tour of the art-filled offices of the Jindals


Source Architectural Digest
(Right) This spiral staircase connects the executive floors of the JSW Centre in the Bandra-Kurla Complex. The installation is Jagannath Panda’s Wizard of the Wasteland; Photographer: Neville Sukhia; (Left) The Jindal Mansion located on Mumbai’s Pedder Road. Art sometimes spills out of this iconic building on Mumbai’s Pedder Road. Refurbished by Mumbai-based architecture firm Edifice, the clean-lined interiors house the Jindal family offices.
> see more

Art and jewellery meet at Nirav Modi’s Mumbai office


Source Architectural Digest by Tora Agarwala
Years passed by, and the lilies resurfaced—this time though, as jewels in the necklaces and earrings that made up his eponymous brand NIRAV MODI’s Lotus collection. “Art has impacted my work directly and indirectly, and often provides a thought or a mood, which leads to a piece or a collection,” he says. But even in art, Modi’s inspirations are diverse—a Gond painting by the late Jangarh Singh Shyam that hangs in the diamond merchant’s Mumbai office (a museum in its own right) is the story behind his Mermaid Cuff collection. His daughters’ plastic bangles inspired the Embrace collection. And FN Souza’s 1974 work Metropolis inspired his Spring necklaces and earrings. “Art has to be something that mesmerizes me; the beauty of which, I cannot help but admire.”
> read more

mercredi 15 novembre 2017

Riyas Komu on the need of the hour at the new Bihar Museum


Source Architectural Digest
“We owe it to Bihar and to ourselves; we owe it to Bihar’s rich heritage and long history,” said Chief Minister Nitish Kumar during the inauguration of the main galleries of the Bihar Museum on October 2, this year. He also defended the public expenditure for it as a long-term cultural investment. The state was once at the centre of India’s political, spiritual and cultural development; so any apprehensions about the museum’s location are misplaced. The city already houses the third-oldest museum in the country, the illustrious Patna Museum, established in 1917, and which has a large collection of archaeological materials and artefacts. Now, the two museums will function complementarily in terms of the historical periods they cover.
> read more

L'art contemporain indien a la cote

Source Le Revenu par Tim Witcher et Agnès Bun
Enrichis par la croissance économique du géant démographique d'Asie du Sud, les nouveaux magnats indiens permettent à des oeuvres d'artistes comme Vasudeo Gaitonde (1924-2001) d'atteindre des prix records. Mais cet engouement ne se cantonne pas aux salles d'enchères. Deux célèbres établissements parisiens, le musée Guimet et le centre Pompidou, exposent actuellement chacun une artiste indienne, jusqu'à janvier. Quant à l'Asia Society de New York, elle prépare une grande exposition d'artistes contemporains indiens pour l'année prochaine.
> lire plus

dimanche 12 novembre 2017

Bharti Kher on how women artists are going to change the art world


Source Vogue India by Shahnaz Siganporia
Suddenly my success or how good I am will always be pegged to the fact that a single piece of my work sold for that much money. But is that the sum of my achievements? Although I honour and respect it, I resent it too. Is my career going to be based on the result of those two auctions, those two or three hours, a decade ago? Is this the lesson I want to teach my kids? That you are only worth how much money you bring in? But if we’re going to obsess over money, then let’s talk about money. The international art world in 2015 was worth US$ 63.8 billion (TEFAF art market report). China holds a 19 per cent share and the US accounts for 43 per cent, while the art world in Europe generates more money than agriculture.
> read more

lundi 6 novembre 2017

Madhvi Parekh


Madhvi Parekh 1972 oil pastel on paper 49x34 cm

Source DAG Modern Rétrospective Madhvi Parekh
Madhvi Parekh est pour moi l’une des plus grandes artistes indiennes. Pourquoi ? Elle me semble être la seule a réussir une synthèse parfaite entre l’art contemporain moderne et le folk art encore si vivace en Inde. Son art célèbre la contemporanéité intemporelle des arts premiers. Son art peut évoquer Klee que lui a fait découvrir son mari dès ses quinze ans. Mais bien plus encore son art évoque, laisse apparaître, transpire, des racines bien plus anciennes. Celles de son village natal du Gujarat. De Klee, elle retient la part la plus enfantine, la force primale tant recherchée également par Picasso. Avec ravissement aussi, certaines de ces oeuvres sont un écho profondément indien à certaines oeuvres de Gaston Chaissac et d’A. R. Penck. Les formes et les couleurs de Madhvi Parekh ont cette liberté pulsionnelle que l’on retrouve dans une seule autre forme d’art la danse. La danse qui était pour Elie Faure la première des manifestations artistiques. Hervé Perdriolle

"La danse, qui inaugurera les langages affectifs des sociétés primitives et qui est d’ailleurs le premier que l’on rencontre chez l’enfant n’est qu’une stylisation de ce besoin d’une forme liturgique élémentaire de "communion organisée", qui élève l’instinct individuel à la conscience la plus fervente, sinon la plus lucide, des intérêts supérieurs de la collectivité. Dans les tribus, elle rappelle sans cesse à cette collectivité, par ses rythmes puissants, par ses répétions rituelles, par ses retours périodiques qui célèbrent les événements les plus solennels de la vie sociale, qu’il convient de sauvegarder dans les moeurs l’ordre qu’enseigne aux hommes les manifestations constantes de l’univers astronomique et biologique : la succession régulières des saisons, les phases de la lune, le lever et le coucher du soleil et des étoiles, la migration des oiseaux, la périodicité du sommeil, de la faim, le battement de nos propres artères, le bruit cadencé de nos pas et jusqu’à la symétrie sensible des deux moitiés du corps de tous les êtres vivants - mystérieux ensemble mécanique qui donne à nos assises subconscientes la sensation d’un balancier régulateur dont chacun de nous perçoit confusément en lui, dans la société et le monde, l’universelle présence." Elie Faure L’universalité de l’art circa 1900


Madhvi Parekh 1979 sketch pen on paper 38x28 cm


Madhvi Parekh 2005 acrylic on canvas 91x152 cm

dimanche 5 novembre 2017

Breaking boundaries with brushstrokes


Source The New Indian Express by Medha Dutta
Madhvi Parekh is not your run-of-the-mill folk artist. Inspired by her artist husband, this 74-year-old painter picked up the brush only after her marriage. She borrows heavily from the folk art form of Gujarat—she hails from Sanjay, a small village in the state—and is what one would call ‘a contemporary artist’. To Manu, his wife seemed a natural contender for the space left behind by legendary Bengal artist Jamini Roy, who had begun at the start of the 20th century.A series on Christ and The Last Supper were a surprise for a world that believed that one cannot, or rather, doesn’t, merge Christ with folk art form. The artist smiles, “As a child I was drawn to Christianity as I had some Christian friends. Later, when I visited the Holocaust museum in Israel, I walked out very disturbed. Just outside there was a small, peaceful church. It seemed the opposite of all the hatred and atrocity. The image of Jesus attracted me and I started drawing him.” Madhvi defies any boundaries on her art. This independent-minded artist will not let you pin her down to one single form. One meeting with her and you know that this petite woman is made of steel—she merges styles and forms at her will and overwhelms the art world with her give-a-damn attitude.
> read more

vendredi 3 novembre 2017

Tarq’s This Burning Land Belongs To You comes to London


Source Architectural Digest
Exhibiting within the beautiful Swiss Cottage Gallery — itself an architectural landmark building designed by Sir Basil Spence (renowned for his brilliant Modernist and Brutalist designs), Tarq’s searing new exhibition, This Burning Land Belongs To You, trains the spotlight on contemporary Indian art.
> read more

jeudi 2 novembre 2017

6 Indians on contemporary art’s global power list

Source DNA
If going up 30 positions on the World Bank’s Ease of Doing Business index made us happy, then the Raqs Media Collective has given us a cause to truly rejoice. The New Delhi-based art collective, comprising Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta, has jumped 47 positions to take the 39th spot on ArtReview’s 2017 Power 100 list. The global list is considered to be the most established ranking in the contemporary art world, and is compiled by international contemporary art magazine ArtReview. Artists Bose Krishnamachari and Riyas Komu of the Kochi-Muziris Biennale feature on the 84th spot, down from 83 last year while art collector, patron and philanthropist Kiran Nadar makes a debut on the 99th position.
> read more

lundi 30 octobre 2017

Of Gonds and their Gods


Source Pune Mirror by Aurogeeta Das
Jangarh’s feelings towards these deities was a fascinating mixture of fear, awe, respect and love — feelings that extended to the many creatures of Mandla’s forests, whom he knew intimately from his boyhood. Jangarh’s love of nature and his keen observation of flora, fauna and avifauna shines through in The Crites Collection’s works. In his pantheon of Gond deities, we see Jangarh’s words ring true — that he tried to crystallise his fear of deities in his art, through the medium of painting. The trees, plants, animals, birds, insects and deities of Mandla’s forests, which Jangarh depicted with such talent, verve and imagination, create an enchanting world, lavishly featured in The Crites Collection’s book and exhibition. Beyond the many paradoxes of his life, art and legacy, readers and viewers of these may be transfixed by the potency of Jangarh’s alchemy — his loving and worshipful transformations of terror, fear, awe and beauty into an artist’s and aesthete’s vision of the numinous.
> read more

dimanche 29 octobre 2017

An Iconic Mainstream Artist Who Stayed Invisible


Source The Wire by Gita Jayaraj
Dashrath Patel, one of India’s most versatile modernists, would have been 90 this month. By itself the number might not count for much. There is a specific ‘black hole’ of art history into which many artists vanish, never to be spoken of again. In a facetious way, one could even ask, what is an artist compared to even the Taj Mahal that is facing erasure today.
> read more

samedi 28 octobre 2017

Gond : The Enchanted Forest

Interview: ‘Without My Audience, the Art Does Not Come Alive’


Source The Wire by Noopur Tiwari
The Centre Pompidou in Paris, one of the world’s leading museums of modern and contemporary art, is holding a retrospective on the feminist Indian artist Nalini Malani titled ‘The Rebellion of the Dead, Retrospective 1969-2018,’ which will run from October 18 to January 8. Malani was born in Karachi in 1946. Her family lived in Kolkata before moving to Mumbai. Women’s place in society, the rise of fundamentalism and ecological destruction are some of the recurring themes of her work. She was one of the first Indian artists to use video in the early 1990s. This is a first retrospective at the prestigious museum dedicated wholly to an Indian artist. In 1985 and 1986, several Indian artists’ works were shown at the museum. More recently, in 2011, an exhibition called ‘Paris-Delhi-Bombay‘ brought together works of several Indian and French artists. Malani spoke to The Wire in Paris, tracing her journey and discussing the influences that have informed her work.
> read more

vendredi 27 octobre 2017

New North and South: creative threads that run across continents


Source Financial Times by Rachel Spence
Suffused with a strange, glowing light that shifts from violet-pink to blotted turquoise, vast ships glide slowly through an industrial waterway, their cargo of gargantuan machinery reaching towards the heavens like the limbs of mysterious sea creatures. In reality, these are shipbuilding cranes embarking on the transcontinental voyage — the last of its kind — from the Tyneside waterfront to their destination at the Bharati shipyard on India’s western coast. Our encounter with this significant yet forgotten bond between South Asia and northern England comes courtesy of a video installation by the trio of Indian contemporary artists who work under the umbrella of the Raqs Media Collective.
> read more

Missives from the Paris contemporary art season: Day 5


Source Architectural Digest by Natasha Jeyasingh
This is juxtaposed with the drawings of Seher Shah, whose interest in brutalist architecture legacy in India examines another complex heritage of modern India. Brutalism formal paradigms are at the same time the marks of international modernism and specially ‘porous’ and adaptable to the ‘localities’ (harsh climate and light, etc.). Shah’s work looks at how that language was spread and assimilated across the country. Pablo Bartholomew’s black and white photographs taken in Calcutta in the 70s brings into focus the Chinese and Burmese diaspora living in the city and his own mixed ethnicity as an Indo-Burmese. In a similar yet very diverse thread, Gauri Gill’s photo project on the aftermath of the anti-Sikh riots of 1984 and the memories of the victims’ relatives is also autobiographical, focusing on a community that moved away from the caste system and gave women equal rights. Both these narratives add to the multilayered story of modernism in the country.
> read more

mercredi 25 octobre 2017

Missives from the Paris contemporary art season: Day 4


Source The Architectural Digest by Natasha Jeyasingh
So, what is his take on Modernism in India? “Dr. BR Ambedkar’s emancipatory architecture for an Indian Union and Republic is for me the structure of Indian modernism. Modernism, like Indian food, is too wide and diverse to actually map in a linear fashion. You have to see the divergences rather than the convergences if you are mapping something as diverse as Indian modernism…Similarly, Indian art history cannot be the element of few conversations only…You have to be able to read more about Souza’s politics to understand his work than the fact that his name is Francis Newton Souza and he is a Christian…We need to look at all the other elements, of Indian modernism, beyond just a man with a paintbrush painting a nude woman–how is that the accepted definition of Modernism in India?”
> read more

Bhupen Khakhar’s painting sold for 1.1 mn pounds at Sothebys

Source Hindustan Times
‘De-Luxe Tailors’, one of the well-known works of renowned artist Bhupen Khakhar, was sold at a record price of 1.1 million pounds at Sothebys in London on Tuesday. ‘De-Luxe Tailors’, which is the last of the seminal Tradesman series by Khakhar, epitomises the artist’s early style and is a signature work from this period, said a Sotheby’s statement. This painting was a part of painter Howard Hodgkin’s personal collection. He had been a mentor to Khakhar and had hosted the artist many times in the late 1970s.
> read more

Imagination in Flight


Source The Indian Express
Nagaland-based Akup Buchem’s electric hand-sewing machine sits in a corner of a bathroom, by the washbasin, incessantly tapping away at a piece of paper. There’s no particular design mapped out. Delhi-based Ritika Mittal has two knitting needles performing the action of knitting, without threads. Debasis Beura from Bhubaneshwar absorbs all his thoughts into the dark frame of window, allowing only a sliver of red light to sieve through a crack in the wall. These explorations in art are meant to question the formality of practice and space. They are part of “The Moving Image: A Course Exploring Light, Movement and Narrative”, organised by Foundation for Indian Contemporary Art (FICA) and Serendipity Arts Trust (SAT). For a month, 14 young artists experimented with kinetic art, photography and video, and mentoring them were senior artists such as Susanta Mandal, Chandan Gomes, Babu Eshwar Prasad and Lokesh Khodke.
> read more

A Solo Exhibition of Indian Street Photography


Source Blouin Art Info
Raghubir Singh (1942–1999) was an introducer of one of the most popular genre of today’s photography - color street photography. He worked and published his works effectively from the late 1960s until his death in 1999. He was born into a noble family in Rajasthan. Though he lived in Hong Kong, Paris, London, and New York; but his eye was continuously drawn back to his native India. This retrospective exhibition will display his photographic work at the crossroads of Western modernization and conventional South East Asian form of capturing the world through lens.
> read more

Archives revue de presse

Nombre total de pages vues