CONTEMPORARY ONE WORD SEVERAL WORLDS

lundi 25 septembre 2017

Who made this saree? The anonymous world of Indian designers, craftsmen


Source Hindustan Times by Shefalee Vasudev
Currently, there is a visible inflection point in India’s design journey. A contemporary awakening of sorts surrounds us through travelling shows, seminars, crafts tours, handloom melas, ministry and media engagements. Many more people now know about tribal and folk art, the hand-made aesthetic in textile and the dilemmas of the country’s heritage legacy. A movement summed up rather succinctly by Bhopal-based Gond artist Bhajju Shyam: “Five years back we were called craftsmen. Today we are known as contemporary artists.”
> read more

dimanche 24 septembre 2017

Handmade in India

Source The Hindu
In 1949 China had only 25 museums. It targeted to create 3,500 museums by 2015 and achieved it some three years in advance of the target date. Strategically developing the cultural and creative industry (CCI) has been an integral part of China’s 12th five-year plan. India should make the most of its glorious past for a better future. Steps such as patenting valuable cultural objects, giving tax benefits to craftspersons, introducing culture as a subject in curricula, structuring funding through public-private partnership models would accelerate the process.
> read more

In Font we Trust


Source Bangalore Mirror by Sowmya Rajaram
By that, he means if a large entity such as the Government of Karnataka makes Chittara the official state typeface of Karnataka and uses it for tourism, railway station signage etc, it will bring more attention to the artform, the community and enable more people to work with these communities directly. “Additionally, the sales of the typeface would increase enabling us to give back to the community,” he says. This, because funds raised from the sale of typefaces is first used to cover all costs and initiate similar new projects with other tribal and craft artists groups.
> read more

dimanche 17 septembre 2017

Will the Indian Way of Seeing Outstare Toxic Hindutva Politics?


Source The Wire by Chitra Padmanabhan
The same reasoning applies to contemporary expressions of art as well. Present-day artists are not representing a religious symbol or icon in the traditional sense; theirs is an artistic expression. Why should it be restricted by traditional canons? It would not be art then. In the present-day context a religious icon too can become a symbol. The number of contemporary artists who have subjected Ganesha and various goddesses to the rules of Cubism and other artistic movements, not the Agamas’ canonical prescriptions, is legion. They are seen as good luck images in households, to be placed along with a laughing Buddha, no more.
> read more

Bharti Kher: Sketchbooks and Diaries debuts in the Gardner Museum’s Fenway Gallery


Source India New England
For the exhibition called “Bharti Kher: Sketchbooks and Diaries,” Kher has installed a series of drawings taken from her 42cm x 30cm sketchbook as well as notebooks, writings, and reflections created during her month-long residency in 2013. Featured are 11 framed drawings and one framed mixed media work on paper as well as four unframed drawings, various notebooks, and photographs presented in a long case. “Kher seems to have had just the right amount of affection and irony for the objects she was looking at in the galleries,” said Pieranna Cavalchini, the Tom and Lisa Blumenthal Curator of Contemporary Art who directs the Artist-in-Residency Program. “The drawings are very tactile and often provocative. They are charged with humor and a capriciousness that is smart and mischievous at the same time.”
> read more

Saffronart's September Sale of Iconic Art


Source Millennium Post by Uma Nair
Saffronart's September Sale of India's modern masters in New Delhi on September 21, is the stuff of distinctive works of rarity, provenance and the power of contemporary character. First launched in September 2014, by Dinesh Vazirani, Saffronart's Evening Sale is not just the highlight of their annual auction calendar but it has carved its own niche in the auction world for its ability to attract the most coveted and distinguished collectors spread across India as well as abroad. Commenting on the auction, CEO Hugo Weihe said, "The sale includes works of exceptional quality and rarity, which offer new possibilities for reflection and dialogue. Consider the juxtaposition of the magical blue Gaitonde with a hazy blue mountain landscape by Roerich, the sea by Padamsee, or of a peninsula by Khakhar. Many works are of unique historical significance, and are milestone achievements for the artists."
> read more

vendredi 15 septembre 2017

Indian art sales show no signs of a slowdown

Source Livemint by Elizabeth Kuruvilla
A revival of private investment has been elusive and after the shock November invalidation of high-value banknotes, economic growth has slowed for two consecutive quarters, to a three-year low of 5.7% in the quarter ended June. That hasn’t deterred serious buyers of Indian art, judging from data compiled by Artery India, an art market research firm. Forty-seven Indian artists achieved new world records in prices paid for their works in the secondary art market between March 2016 and August 2017; 27 of those records were set in the post-demonetization period. Payments in the secondary market are made in cheques, so demonetization did not have any impact, corroborated Hugo Weihe, CEO of Saffronart. In the primary art market, greater caution was practised. This was felt at the India Art Fair, which took place in January, said Amal Allana, director of Art Heritage gallery in New Delhi. “In general, demonetization slowed down the art economy. There’s no real sense of recovery still,” she said.
> read more

jeudi 14 septembre 2017

Art by Indian women artists--a new kick in the global art market?


Source MoneyControl by Tasmayee Laha Roy
Amongst the Modern artists within the Artery India Artist tracker, there were only 23 female artists against 153 male artists. The uptick is visible within the numbers in the contemporary section featuring artists including Bharti Kher, Anju Dodiya, Shilpa Gupta, Reena Saini-Kallat and Mithu Sen among others where the representation rises to 55 women artists as compared to 148 males. According to Vijaymohan, "The disparity between the gender representation is finally beginning to even out and a certain section of the market seems to be acting with prudence."
> read more

How St+Art Changed The Way People View Street Art In India


Source MENSXP by Dessidre Fleming
“We essentially wanted to make art more democratic,” says Nauriyal. “We want people to look at public spaces as not being sterile, plain, or non-interactive structures; but something that could also initiate conversation and, in some form, inculcate a thought process which extends from painting beautiful things to painting deeper meanings via projects and spaces that have a deeply rooted social context.” St+Art, from its inception worked as an Indian platform for Indian artists to be exposed on a global stage which was definitely not happening before. It was to create an ecosystem around street art.
> read more

Mumbai Art Room: Experiments in art


Source Livemint by Tanuj Kumar
Given that the major private art galleries in India incline towards working with established artists, a venture like Mumbai Art Room has been a blessing for the burgeoning Indian art scene. Founded in 2011 as an exhibition space by American curator Susan Hapgood, it will now assume the new avatar of a ‘curatorial lab’, a space which aims to nurture emerging Indian and international curators with an interest in Indian art. The curators, nominated by a committee comprising leading academics and other curators, will be invited to submit proposals for the four annual exhibitions to be held in the lab.
> read more

lundi 11 septembre 2017

Shadow Lines


Source The Indian Express by Vandana Kalra
The oldest nation is barely a few hundred years old and borders run through societies that are similar, where people even today, have families on its two sides, who speak the same language and share several old links. There is No Border Here (2006) is a set of printed tapes which are otherwise used to cordon and measure. The bottles of simulated blood in Blame (2001) or Tree Drawings (2013), look at the tension between man-made demarcations and nature. The act of naming and memory play has been part of my early works from the ’90s. I have always been interested in the ambitious exercises and the surety with which we are constantly inclined to classify ourselves and the absurdities and dangers that follow.
> read more

samedi 9 septembre 2017

Howard Hodgkin’s Indian affair


Source Livemint by Tanuj Kumar
Opposite the Mint office in Delhi, a black banyan tree stands embedded in white marble. Only, instead of a real tree, it is a mural on the façade of the British Council building, designed by the British artist Howard Hodgkin at the invitation of architect Charles Correa in 1992. Hodgkin, one of the pre-eminent contemporary British artists, died in March, and come October, Sotheby’s in London will auction his prolific personal art collection, a substantial part of which comprises eclectic Indian art.
> read more

vendredi 8 septembre 2017

The stars are aligned for Jitish Kallat’s new exhibition in Brussels


Source Architectural Digest by Uma Nair
This time he combines astronomy and geophysics in a pair of intricately detailed sculptures titled ‘Covariance’ (Sacred Geometry) that from afar may resemble a rock/an anthill/a fallen meteorite/an ancient fossil. Look closely, and you’ll find pairs of finely carved, tiny eyes modelled on different species, from mammals and birds to reptiles and fish.
> read more

Gender, re-imagined


Source The Hindu by Sravasti Datta
The third edition of Gender Bender questions narrow definitions of sexuality through performances and installations. Gender Bender 2017, a joint project between Sandbox Collective and Goethe-Institut/Max Mueller Bhavan, co-curated by The Ladies Finger, will be held on September 9 and 10 at Goethe-Insitut. The grantees speak about their works.
> read more

lundi 4 septembre 2017

Beyond the News: India’s antiques, neglected at home but treasured abroad


Source The Indian Express by Pooja Pillai
Chandigarh’s furniture heritage is in a legal twilight zone, in fact, since it is now recognised by everyone — including the authorities — as being valuable, yet remains bereft of any actual protection under Indian law. Activist Ajay Jagga, an advocate, says he has approached various authorities on the matter, including Chandigarh High Court and the CBI. “I wrote to the Ministry of Culture that since this is a matter of national heritage, they must find some way of declaring these furniture to be ‘art treasures’. That would mean that they can’t be sold out of the country,” Jagga said.
> read more

An art exhibition to commemorate India after Independence


Source Mid-day by Benita Fernando
The birth of a new nation has been the subject of great art and great controversy. As the country completed 70 years of independence last month, the significance of the occasion has found a new commemoration through an exhibition curated by Dr Arshiya Lokhandwala. The title, India Re-worlded: Seventy Years of Investigating a Nation, should give audiences an indication about the theme of the exhibition, which spans 70 works, including 40 new commissions, by artists across generations. Lokhandwala, a curator and former gallerist, has retraced her doctoral thesis, on Postcolonial Palimpsests: Historicizing Biennales and Large-Scale Exhibitions in a Global Age, for this show. She refers to influential literary and postcolonial theorist, Gayatri Spivak. "Spivak revisited Martin Heidegger's original concept of "worlding" as a process of violence that emerges when territories get colonised by colonizers.
> read more

vendredi 1 septembre 2017

How artist Ravinder Reddy’s sculptures depict women and their sexuality.


Source Hindustan Times by Nikhita Venugopal
The first thing you notice about G Ravinder Reddy’s sculptures are the eyes. Throughout his work across the decades, an unwavering stare can be seen in his figures — wide-eyed, bold and sensual. The second is a sense of familiarity. These aren’t mythical creatures. They’re the women who sell fish and vegetables. Students going to college. A woman on her way to work. When Reddy, 61, was a student in the early 1980s, he found that many of his contemporaries were influenced by European sculptors. It was a school of thought he didn’t wish to follow. “Why should we do something that we’re not familiar with and import from European masters?” he asked in an interview.
> read more

Rendezvous with the Contemporaries


Source The Indian Express by Pallavi Chattopadhyay
Six galleries from the Capital join hands for the first edition of Delhi Contemporary Art Weekend. The display has brought the collections of Exhibit 320, Gallery Espace, Nature Morte, Shrine Empire, Latitude 28 and Vadehra Art Gallery under one roof, and includes specially commissioned and recent artwork.
> read more

mercredi 30 août 2017

Indian Modernist masterpieces to go under the hammer at Christie’s auction in New York


Source Architectural Digest
At Christie’s Asian Art Week, works by artists, including Vasudeo S. Gaitonde, Tyeb Mehta, Adi Davierwalla, Akbar Padamsee, Jehangir Sabavala, Ganesh Pyne, Manjit Bawa, and others, will go under the hammer at the South Asian Modern + Contemporary art auction in Rockefeller Center.
> read more

Keeping the family legacy alive! Pharma scion Adar Poonawalla wants to promote Indian art museums

Source The Economic Times
He is the owner of an enviable art collection. Now, Adar Poonawalla, pharmaceutical scion and CEO of Serum Institute of India, has acquired a seminal Tyeb Mehta, oil-on-canvas creation from Astaguru's recently concluded 'Modern & Contemporary Indian Art' online auction. Poonawalla's passion for Indian art continues his family's legacy of supporting and encouraging Indian art, which the businessman believes, represents our culture. Therefore, in order to facilitate and spread awareness, Poonawalla plans on setting up an art museum showcasing the best works of modern and contemporary Indian artists. Stellar works that are part of the family's art collection will also be displayed in the museum.
> read more

mardi 29 août 2017

How performance art is breaking new ground in India


Source Daily'O by Chinki Sinha
Ayyakann, the 73-year-old farmer, sat in the sun debating whether on Monday, which would be the 42nd day, they would shackle themselves and be dragged on the streets in yet another performance of protest. But before that, they would drink urine and eat human excreta. Performance, he said, was needed to induce reaction. It would be ephemeral. No act would be repeated. The farmer, who is a lawyer by education and dabbled in politics before orchestrating such protests, is aware of the subtleties and body shock value of performance art. And his tool isn’t the canvas or any material to depict the fragility of the human body and its suffering but the body itself. The body is the carrier of the trauma. So, when they had decided to stage protests at Jantar Mantar, they had scripted their performance. They had dug the graves, got the skulls and brought them over to the national capital and hung them around their necks. Ayyakann knew about the politics of invisibility. He knew they can’t be invisible men. Dadism, an art movement that channelised hyper imagination and realism, used everyday objects. These were their tools of performance. The farmers from Tamil Nadu had mice hanging from their mouths in an almost performance like protest to show their suffering. But who is a performance artist in India? Is such art without purpose? Is purpose important? Who is a performance artist? Is everything performance art here? Is it democratic?
> read more

lundi 28 août 2017

What you see when you see: Clay: A Modernist take on tradition


Source Bangalore Mirror by Suresh Jayaram
This is the season of Ganesha chaturti and we see the much loved and manipulated icon been made in clay. But there has always been an elephantine problem when the ritual of ‘visarjan’- immersion and the aftermath of toxic paints and Plaster of Paris. As the festivities come to a close the lakes look like a war zone of bamboo armatures, fragmented Ganeshas floating and the dead fish. Here we see how a tradition of using clay and returning it to the lake is a cycle, a lesson in letting go has become a show of strength and size. In the contemporary Indian art context terracotta as a material has fascinated a few significant artists.
> read more

Jogi art: The folk form developed and practised by a single family


Source Scroll'In by Zinnia Ray Chaudhuri
Ganesh Jogi and his wife Teju Jogi were nomadic bards who made a living by moving from neighbourhood to neighbourhood, singing traditional, devotional folk songs in the morning. In return they got grain, clothes and money. In the 1970s, Indian artist and cultural anthropologist Haku Shah came across the natives of Chittorgarh, Rajasthan, and insisted that they draw their songs to give the stories a visual vocabulary. Thus was born the folk art form named after the couple who created it – Jogi art.
> read more

dimanche 27 août 2017

Mumbai sculptor finds his calling in scrap wood and The Space Age


Source Mid-Day by Benita Fernando
It is only in recent years that the interest in Davierwalla's legacy has been rekindled, largely through the showcase provided by two iterations of the exhibition, No Parsi is an Island: A Curatorial Re-reading Across 150 Years, in 2013 and 2016, curated by Nancy Adajania and Ranjit Hoskote. Adajania, a cultural theorist, says that when they showed sculptures and sketchbooks by Davierwalla, in the first iteration of No Parsi is an Island in Mumbai, people were amazed by how contemporary these works appeared.
> read more

Power Agent


Source Pune Mirror by Vinutha Mallya
Gunwale next show, which will open in January 2018 at the Institut für Auslandsbeziehungen (ifa) in Berlin and Stuttgart, will deal with riots. “It is a crucial moment to reflect on the characteristics and long-term impact of the riot. In Gujarat, Sri Lanka, London — different riots of particular forms, of such different languages — they were complete eruptions. A lot is written about war and rebellions. However, an examination within the arts, on riots across phases in history and geopolitical spheres, in view of the rising far-right influence as an endemic force, must be carried out,” said the curator about her forthcoming project.
> read more

jeudi 24 août 2017

Art market needs to go up to propel artists to top

Source Business Standard
"The trend in the world is... the people of a particular culture tend to buy the art of their culture, so as economies develop, the art of those economies tend to be the ones that have the highest price at that particular point. For example, that is the reason why Western art dominates not just in prices but also the canon of art history because it has been written by them for themselves. It was never meant to be holistic and look at the rest of the world. That way we will have to do the hard work." Similarly, she said, in the 1970s and 1980s as the Japanese economy developed, Japanese art became highly priced because the Japanese people were buying it and anything the Japanese were touching, its (price) was becoming quite high. "Later on when the Korean economy went up, Korean art became very collectible. It was the Koreans who were buying it. So that's the phenomena which you are seeing with Chinese art. And Indian art, obviously is not there yet. If it is to come up, it's going to be a question of what we see in the economy," says Art Institute Chicago's curator Madhuvanti Ghose.
> read more

mercredi 23 août 2017

A squad from Bombay of the ‘bloody 90s’


Source The New Indian Express by Sooraj Rajmohan
“Such is life,” says V Sanjay Kumar to CE when asked about how he ended up in literature. “I would say my marriage changed my life (laughs). It was in 1989 and someone gifted us an art piece by MF Hussain. I became fascinated by that and that’s how I stepped in to a gallery and then eventually writing,” says Sanjay about his transition from the corporate world to the art world. After graduating from IIM in 1982, he set up businesses in investment banking, stock broking, banking software and finally in Sakshi Gallery, Mumbai, on contemporary art.
> read more

What to Expect at New York’s Asian Art Week Sales


Source Observer by Alanna Martinez
The second week in September will be one-stop shopping for enthusiasts of Asian Art in New York. From September 12-16, Christie’s and Sotheby’s are planning a series of sales dedicated to art and significant objects across a diverse spectrum of categories, including ceramics, painting, calligraphy, sculpture and more.
> read more

samedi 19 août 2017

Altaf Mohamedi’s art of dissent


Source Livemint by Sanjukta Sharma
Altaf Mohamedi was quintessentially an artist of the 1960s. His college years in London influenced the politics of his early career as an artist. And after returning to his home in Mumbai in 1967, he joined Proyom (Progressive Youth Movement), which was Marxist-Leninist and sympathetic to the Naxalbari cause. In those years, Mohamedi took his posters to the streets, and his paintings to the schools and Dalit colonies of Mumbai. He and his artist wife Navjot, who was also interested in looking outward, but in more experimental ways, believed that the social, interactive nature of art could help transform the status quo. A retrospective of the works of Mohamedi (who died in 2005) opens at the DAG Modern Art Gallery in Mumbai today.
> read more

Pour some love on Ashiesh Shah’s Lingam Bench


Source Livemint by Komal Sharma
The phallic form of the Shiva lingam has always had a strong appeal among artists and designers. For instance, the late Italian modernist, Ettore Sottsass—whose retrospectives are being held at the Met Breuer, New York, and the Venice Art Biennale—explored the form in his own whimsical rendition in the 1990s, creating Lingam vases and the Ceramiche di Shiva. Mumbai-based interior designer and architect Ashiesh Shah is no exception. “The Shiva lingam is a form that recurs in my work, one way or another; in rounded arches, in combining domes and cylinders, there’s always an undercurrent. It is one form that hasn’t been owned by the West. It’s completely ours and has such a strong spiritual connect,” says Shah, who decided to devote a project to the exploration of the form.
> read more

vendredi 18 août 2017

19th Century Swadeshi Art


Source Akar Prakar by Ashit Paul
The Mughal era, famous for its art and architecture, was coming to an end and the French and Portuguese had established their trading outposts during the time of Aurangzeb, the last great Mughal. The European foreigners, like the Mughals, had a lavish lifestyle with art, especially paintings, forming an important aspect of it. Again, like the Mughals, these traders used local artists to satisfy their aesthetic sense and in places like Chinsurah, Chandarnagar and Serampore, these artists were commissioned for portrait paintings.
> read more

No Free Show

Source The Indian Express by Leher Kala
Any original endeavour that provides thrilling new insight to an old order, whether it’s an essay or a stand-up comedy act, falls within the broad definition of art. In which case, there can be very little justification for taxing AR Rahman differently from Jamini Roy. In Ireland, for example, from 1969 onwards, there was an artists tax exemption scheme that applied to visual artists, composers and writers on the grounds that they made very little money and needed to be incentivised to create. It was reworked in 2004 after the recession forced the country to overhaul its tax code and citizens complained because high earning performers like U2, and writers like Irvine Welsh (Trainspotting), weren’t paying their taxes. Mexico has a payment-in-kind programme that allows artists to pay income tax with their work: If an artist sells between one and six pieces of work in a year, one must be donated to the government.
> read more

5 minutes with... A masterpiece by V. S. Gaitonde


Source Christie's by Nishad Avari
Everything starts from silence,’ the Indian artist Vasudeo Santu Gaitonde (1924-2001) once said. ‘The silence of the brush, the silence of the canvas, the silence of the painting knife. The painter starts by absorbing all these silences... No one part of you is working there. Your entire being is.’ An advocate of Zen Buddhism, Gaitonde saw painting as a spiritual endeavour and not something to be rushed, either in conception or execution. He painted, on average, just five or six canvases a year. In the past decade, however, the Indian artist’s reputation has witnessed a sharp rise, including the retrospective exhibition, Painting as Process, Painting as Life, at the Guggenheim in New York, in 2014-15. Commercial success has matched institutional recognition. At the inaugural Christie’s auction in India, held in Mumbai in 2013, Gaitonde’s Untitled (1979) sold for INR 237,025,000 / $3.8 million, making it the most expensive painting ever by an Indian artist. Two years later, that record fell to another Gaitonde canvas, Untitled, from 1995, which fetched INR 293,025,000 / $4.4 million.
> read more

dimanche 13 août 2017

Decoding Gandhi through art


Source The Hindu by Udayan Vajpeyi
What was it that Gandhi was trying to communicate through the charkha? He was suggesting that the various indigenous ways of living and creating are still vital and that one should try to revive their potential, not out of nostalgia of any kind, but to be able to revitalise our own creative and constructive energies. He also meant that Indians would have to engage in serious dialogue with the traditions of the country and avoid being mere imitators of the then dominant powers of the world, that is, the colonising powers of Europe. This approach was drastically different from what we have called the anatomical approach which, in a sense, reduced Gandhi to a mere freedom fighter. Instead, these other artists saw Gandhi as a thought process, as an unfinished task; the task of getting this civilisation to decolonise itself.
> read more

samedi 12 août 2017

The art of not forgetting


Source Livemint by Rosalyn D’Mello
She’s not certain of the colour—she suspects it was white—but it was definitely a Maruti Omni. Shilpa Gupta is tracing her way back to 1999, eight years after India’s economy opened up, when the van had become a ubiquitous fixture on the country’s roads. She was about 23, and had just got her degree in sculpture from Mumbai’s Sir JJ School of Art, when she participated as one of 24 artists at the newly instituted Khoj International Artists Residency at Modinagar in Uttar Pradesh, along with Subodh Gupta, Anita Dube, Tallur L.N., and Navjot Altaf. During one outing, Gupta found herself occupying one of the back seats. The Pakistani artist Huma Mulji sat across. They had already forged a friendship, communicating in both English and Urdu. “Within this setting, Aar Paar was being born,” Gupta recounts during our interview at her studio in Bandra, Mumbai.
> read more

jeudi 10 août 2017

Top 10

Source Pune Mirror
One of Mumbai’s most cutting-edge contemporary art galleries, Chatterjee & Lal, turns 10 this week. The couple behind the Colaba space, Mortimer Chatterjee and Tara Lal, is putting together a show that opens on Thursday. Titled ‘The Ten-Year Hustle’, it will have on display works by Nikhil Chopra, Sahej Rahal, Minam Apang, Nityan Unnikrishnan as well as historical material by artists who have been influential on the programme — Nasreen Mohamedi, Zarina Hashmi and Pilloo Pochkhanwala. Though their eponymous firm was formed in 2003, shortly after the auction house Bowrings (where they both worked) shut operations in India, they started to work out of a gallery in Phillips Antiques. Its owner Farooq Issa handed the couple the responsibility of managing its shows for a full year. A twopart retrospective of Mohamedi’s work and exhibitions by Sudarshan Shetty and Rashid Rana followed, and so did the desire to acquire their own space. In fact, it was Chatterjee’s father who found them their current 1,600 square foot space.
> read more

Galleria Continua, la Visite aux Moulins


Source Mowwgli par Patrice Huchet
Galleria Continua consacre quelques salles aux œuvres les plus marquantes de Nikhil Chopra, artiste indien travaille aux frontières du théâtre, de la performance, de la peinture, de la photographie et de la sculpture. Il conçoit des personnages qui s’appuient sur l’histoire des lieux qu’il investit pour ces performances. Il incarne ses personnages, en grande partie improvisés, dans des performances qui peuvent durer plusieurs jours. L’artiste leur donne vie grâce à des costumes élaborés, qu’il inter change tout au long pour indiquer la permutation de ses personnages. Chopra vient fréquemment habiter personnellement son espace dans l’exposition au moment de l’inauguration. Passant d’hier à aujourd’hui, de l’Orient à l’Occident, de l’homme à la femme, Nikhil Chopra signe des performances raffinées qui questionnent les notions d’identité et d’hybridité culturelles, mais aussi la façon dont le monde contemporain transforme le paysage et sa représentation.
> lire plus

mercredi 9 août 2017

Big names flock to Cuba’s first contemporary art space


Source The Malay Mail
Now the first ever international contemporary art space on the Communist-ruled island has been dubbed Arte Continua, or “art goes on,” reflecting the changes shaping Havana. The concept, originally from Italy, brings leading contemporary artists to an island that has been under one-party rule for more than half a century. It is an offshoot of a project called Galleria Continua which started when Italians Mario Cristiani, Lorenzo Fiaschi and Maurizio Rigillo had the idea of setting up contemporary art spaces in the most unlikely places, starting in 1990 in the medieval Italian village of San Gimignano. They scored a notable coup when they installed a gallery in China in 2005. The Havana space includes work from big names including Michelangelo Pistoletto, Daniel Buren of France, British-Indian artist Anish Kapoor, India’s Shilpa Gupta and the late Greek-Italian artist Jannis Kounellis.
> read more

Godavari Parulekar: A Life Of Activism


Source Feminims in India by Aishwarya Javalgekar
During her work with the Kisan Sabha, Godavari came across the problems of the Warli community. The Warli people were pushed into forced and bonded labour by wealthy landlords who had usurped their land. The Warli women, considered less pure than the men, were being raped by the landlords, accused of witchcraft and killed. Godavari devoted her life to the struggle of the Warlis. Along with Shamrao, she led the Warli Adivasi Revolt which swept parts of Maharashtra from 1945 to 1947. Not only did the revolt end forced labour and establish fixed wages, but it became an integral part of the pre-independence movement against landlordism.
> read more

mardi 8 août 2017

Sneak Peek: Omar Kholeif On Abu Dhabi Art


Source Harper's Bazaar by Dr Omar Kholeif
I am particularly excited to be welcoming Spruth Magers gallery to the region for the first time with a beautifully curated solo booth by Otto Pienne. I am also thrilled that Marian Goodman Gallery will be bringing a beautiful presentation of Giuseppe Pennone's work. Beyond that, I am also excited that Jhaveri Contemporary will be showcasing an incredible project, a collaboration between Indian artist Nalani Malani and Pakistani artist, Iftikhar Dadi, which is so pertinent at this moment in time!
> read more

lundi 7 août 2017

Jogen Chowdhury seeks GST exemption for art

Source The Indian Express by Abantika Ghosh
Artist Jogen Chowdhury, who curated Rashtrapati Bhavan’s art collection and is a member of a committee that decides on statues and paintings in Parliament, has written to Prime Minister Narendra Modi, Finance Minister Arun Jaitley and the GST Council seeking exemption for art under GST. Chowdhury, who is a Trinamool Rajya Sabha MP and one of the biggest names in contemporary Indian art, wrote that it was shameful artists who receive no benefits from the government have been reduced to the category of a businessmen or traders. Original works of art have been taxed at 12 per cent in the GST law and Chowdhury, who is also planning to raise the matter in the Rajya Sabha, said it neither does justice to creativity nor seems to take into account the fact that this amounts to double taxation as artists are already paying income tax on the sale of their work. “Given that the overall turnover of the total art market would not even cross Rs 500 crore, it hardly qualifies as a commodity in today’s economy…. We, already paying our income tax as honest citizens, demand to be exempted from any form registration or payment of GST,” reads the letter that several artists have signed.
> read more

vendredi 4 août 2017

Why the NGMA needs to think big


Source Livemint by Sanjukta Sharma
These are doggedly revivalist times, and it isn’t all pretty. In the movies, the mythological superhero is resurgent; the burqa-clad woman with a healthy libido is offensive. The cultural mandate is to look inward, to the indigenous: The Union ministry of culture has undertaken a Rs470-crore project called the National Mission on Cultural Mapping and Roadmap. Starting from Mathura, there will be talent hunt competitions across the country—640,000 villages—over the next three years. Can such a project ensure we have original, radical artistic ideas that can compete with the best in the world? We will know in three years. But Indian art needs much more than talent-hunts.
> read more

jeudi 3 août 2017

Sex selection, Bollywood, urban chaos: Madhubani art is finding new themes after decades


Source Scroll In by Zinnia Ray Chaudhuri
A desire for social change appears to bind these folk artists together. In 2016, Karn spent a year in Jharkhand’s Chandidih village, working with the locals on a community art project. In collaboration with Artreach India, he covered the walls of houses with murals drawn in the style of Sohrai art from Jharkhand, decorated with Madhubani designs. Some murals depict local festivals, but many highlight the issues faced by the villagers – the lack of water, healthcare and forests.
> read more

lundi 31 juillet 2017

POOJA SOOD ON HER DECADES-LONG TRYST WITH THE ARTS


Source Verve by Shraddha Jahagirdar-Saxena
Destination One, Jaipur: The Jawahar Kala Kendra (JKK). The multi-arts centre located in the Pink City was built — and is nurtured — by the Rajasthan Government with the intention of preserving the state’s arts, crafts and culture. Adapting and applying concepts from ancient architectural principles, the property — designed by renowned architect Charles Correa — is infused with local hues, feel and flavor. Destination Two, New Delhi: Khoj, the not-for-profit arts organisation in the country’s capital. Started humbly in 1997 as an annual workshop, Khoj completes two successful decades this year. It has built a powerful reputation, both nationally and globally, for being an alternative incubation space, with a focus on exploring the new and experimenting with interdisciplinary forms of creative practices.
> read more

KIRAN NADAR ON BEING A COLLECTOR WHO FOLLOWS HER HEART


Source Verve by Sharmi Ghosh Dastidar
She is known for being on her toes. “How else would one run two museums? You have to channelise all your energies and work as if there are 12 instead of 24 hours in a day,” says Kiran Nadar, wrapping up work in Delhi before she leaves on a two-month-long voyage that will take her to the Venice Biennale and the Documenta art fair in Athens. The two Kiran Nadar Museums of Art (KNMA), in Saket and Noida, are emblematic of this prolific nature of their founder and director.
> read more

A brief look at protest art in India, and how it is challenging bigotry and dogma


Source Firstpost by Radhika Oberoi
In India, collectives of artists, writers, scholars and activists, like Sahmat — The Safdar Hashmi Memorial Trust and Committee — have used the poster to challenge the dominant discourse around political events, particularly the demolition of the Babri Masjid at Ayodhya on 6 December 1992. Sahmat’s posters for a Sufi-Bhakti performance, titled Anhad Garje , or ‘the silence reverberates’, a phrase used by the medieval poet, Kabir, were 32 x 23 inches of silkscreen that responded to the razing of the mosque with a simple line printed at the bottom: Come to defend our secular tradition.
> read more

samedi 29 juillet 2017

Deux peintures de Chano Devi sont parmi les œuvres de la Collection agnès b. exposée à la Collection Lambert en Avignon


Source Galerie Hervé Perdriolle
Situé entre les contreforts de l'Himalaya et les plaines du Gange, le Mithila (aujourd'hui l'état du Bihar) a un passé des plus riches. Ce fut là que naquit le fondateur du Jaïnisme et que Bouddha eut la révélation. Ce serait aussi à Madhubani (littéralement : forêt de miel) que le Mahatma Gandhi aurait décidé de prêcher pour la première fois sa doctrine, grâce à laquelle il voulait libérer l’Inde de l’économie anglaise. Dans cet ancien royaume, ce sont les femmes qui peignent et qui transmettent leur savoir de mère en fille.
> lire plus

vendredi 28 juillet 2017

HOW THE INTERNET HAS CHANGED THE CONSUMPTION OF ART OVER THE YEARS

Source Blouin Art Info by Ranjabati Das
Museums, galleries and auction houses all have their own websites and social media presence today, but they are still tying up with online trading platforms by the dozen to ensure a piece of that pie too. Mojarto.com, which sells original art, prints, and collectibles, has an enviable roster on its plate — including Emami Chisel Art and CIMA in Kolkata, Galerie Mirchandani + Steinruecke and Pundole in Mumbai and Delhi’s Vadehra, Latitude 28 and Threshold. Allowing interested parties a peek into a broad cross section of works, it is a bona fide one-stop shop that works well for young netizens hardpressed for time, especially those staying outside the three metros where the major galleries are bunched up.
> read more

Engaging in dialogues on contemporary curatorial practices


Source Deccan Chronicle by Soumyabrata Gupta
I think India has some absolutely fantastic curators who are breaking ground across the board. There are curators who have engaged with a particular artist over years even decades and have a deep understanding of their work. Some curators have done fantastic work in revisiting artists whose practices have been overlooked and have historically re-contextualized their contribution to the world of contemporary art. Art is at a crucial juncture in India at the moment and critical writing as well as exhibition making is going through a transformative phase. Curators and artists work in a symbiotic relationship and both Indian curators are curating and artists are being constantly shown in globally significant exhibitions.
> read more

jeudi 27 juillet 2017

The sorry state of a multimillion-dollar art collection reveals deeper troubles at India's national airline


Source Los Angeles Times by Shashank Bengali and Parth M.N.
Air India’s art buying days are long gone, but for a generation of painters the company was a crucial patron at a time when there was hardly any domestic market for their work. S.G. Vasudev, a painter who sold several pieces to the company — including a large 1977 canvas in exchange for a plane ticket to London — said he often wondered about the fate of work that he hasn’t seen in decades. Air India acquired many of its pieces at throwaway prices, but they are probably worth much more today. A Gaitonde abstract canvas recently sold for more than $4 million.
> read more

mardi 25 juillet 2017

The seventh edition returns 27 July with a weighty collection of key curators from today’s contemporary artistic landscape


Source Harper's Bazaar
This year, the three-day programme will include Barbara Piwowarska, curator and art historian; Lauren Cornell, chief curator, Hessel Museum of Art, and director, Center for Curatorial Studies at Bard College Graduate Programme New York; Reem Fadda, independent curator; Roobina Karode, director and chief curator, Kiran Nadar Museum of Art in New Delhi; Hammad Nasar, curator, writer and researcher; Olivier Kaeser, art historian, curator and co-director, Swiss Cultural Centre, Paris; Pedro de Almeida, programme manager, 4A Centre for Contemporary Asian Art, Sydney; Ruba Katrib, curator, SculptureCenter, New York; and Nada Raza, research curator, Tate Research Centre: Asia. The event will be moderated by Natasha Ginwala, curator of Contour Biennale 8 and curatorial advisor for Documenta 14.
> read more

lundi 24 juillet 2017

Agnès b. : une expo à Avignon cet été, une fondation à Paris en 2018


Source Culture Box par Corinne Jeammet
"On aime l’Art ! Agnès b.", c'est près de 400 œuvres de la collection de la styliste. C’est par le voyage que débute l’exposition, en convoquant les oeuvres brodées ou dessinées au stylo d’Alighiero Boetti, rappelant ses voyages en Afghanistan où il créa même un hôtel, le One Hotel, fréquenté par Cy Twombly... mais aussi Mona Hatoum, Jivya Soma Mashe et Chano Devi dont les grandes toiles s’inspirent des traditions indoues ou encore les photographies de Cecil Beaton et de Leila Alaoui, étoile montante de l’art prématurément disparue dans les attentats de Ouagadougou.
> lire plus

DIVIA PATEL ON TAKING INDIAN ART ONTO FOREIGN SHORES


Source Verve by Amishi Parekh
As a child, she devoured stories that she found at her local library. Divia Patel was also fascinated by the physicality of books, how they smelled and felt, as well as the typography and illustrations within them. Born in Kenya but spending most of her life in London, she studied South Asian anthropology and history and is currently senior curator in the Asian department at the V&A. In 2015, she curated "The Fabric of India", a landmark show that highlighted the country’s rich handmade textile heritage and also published "India: Contemporary Design: Fashion, Graphics, Interiors".
> read more

vendredi 21 juillet 2017

Raza and me


Source The New Indian Express by Vandana Kalra
I am grateful that I shared such a deep and uncompromised friendship with Raza sahib. We were best friends for over two decades (1984 to 2008) and like family to each other. The last time I met him was in Delhi in February 2016, he was in the hospital and unconscious. I paid my regards and left. Our first meeting was in 1984, when I was interviewing renowned artists of India for my PhD on Indian tribal art. I was at the Jehangir Art Gallery in Mumbai, when he walked in. He immediately agreed for an interview. During our discussion, he asked what else I did and when I told him I was an artist, he insisted on seeing my work. To my surprise, we immediately took a cab for Pune where my studio was, and on seeing my work, he assured me that I had a bright future and that I should try to come to Paris.
> read more

Sculpture Park brings Indian contemporary art to Bengaluru


Source Business Line by Sangeetha Chengappa
Bengaluru has, over the ages, earned many sobriquets such as Garden City, Pensioner’s Paradise, Pub City and, more recently, the IT Capital of India. While a walk through the verdant expanses of the city exposes people to its various features, there are few avenues for people to discover the cultural context of Bengaluru through works of art. Addressing this opportunity, the RMZ Foundation has installed sculptures of six world-renowned contemporary Indian artists at the ground and Ecodeck levels of RMZ Ecoworld, a 52-acre campus in the heart of Bengaluru’s IT district Bellandur — which houses an IT Park, restaurants, premium shopping centres, amphitheatre and an art gallery. Aimed at inspiring and engaging both the 23,000 people who work in the campus and the public at large, the sculptures are open for viewing from 9 a.m. to 7 p.m., with no entry fee.
> read more

jeudi 20 juillet 2017

ANITA DUBE: UNRAVELLING THE INNER WORKINGS OF A PROLIFIC THINKER


Source Verve India by Manisha Gera Baswani
Born in Lucknow in 1958 to doctor parents, Dube recalls how they “built a five-bed hospital below our house where my mother, a gynaecologist, assisted my father during his surgeries. Our home always had doctor friends of my parents visiting us, eating with us, discussing medicine and their patients. I vividly remember my dad coming up to show us a tumour from one of the patients he had just operated upon. It was placed in a big plate, blood still dripping. My father’s elder brother’s family stayed in the same house and we always had at home relatives and people from the village who had come for treatment. I remember the lack of privacy, but looking back, I feel that it was a good childhood filled with a lot of warmth and freedom.”
> read more

Archives revue de presse

Nombre total de pages vues