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Archive for the ‘Shilpa Gupta’ Category

Bani Abidi on Indian video art, a medium on the rise – interview Tehelka Magazine

Posted by artradar on August 18, 2009


CONTEMPORARY INDIAN VIDEO ART

Who are the emerging Indian video artists and the collectors of this up-and-coming genre? How can collectors display the work and should they be concerned with authenticity? Where can video art be seen and bought? Read on to find out more:

Video art: it is new

Video has the capacity to move a viewer, express emotion, and provoke thought. It is no surprise, then, that contemporary artists who have grown up exposed to moving images and storytelling films are utilizing video to express their artworks, and the medium has been elevated to a fine art that is being embraced by museums and collectors alike.

However, video art has only existed for about the past 50 years, or since the equipment became easily available to creatives for use. It surprisingly took awhile to gain momentum in India, a country with a rich film-making history, and has only gained popularity in the past few years.

But it is here to stay

Now, however, video is a mainstay in the contemporary Indian art scene with galleries exclusively devoted to the medium such as the Apeejay Gallery which has solely shown video and film art for the past 5 years. Video art is a necessary part of the best well-rounded contemporary art collections too and can be found in important collections such as the Lekha and Anupam Poddar Collection with the Devi Art Foundation.

But, the question remains, what exactly is video art, and how is it different from ordinary film?

So what is it exactly?

Bani Abidi, an active Pakistani video artist with pieces on display at museums including the MoMA in New York and the Devi Art Foundation Delhi, sheds some light on the distinction of video art in an interview with Tehelka Magazine.

Mangoes, 1999, by Bani Abidi. Video, Single Channel, 3:24 sec. Two expatriate Pakistani and Indian women sit and eat mangoes together and reminisce about their childhood. An otherwise touching encounter turns sour when they start comparing the range of mangoes grown in either country, a comment on the heightened sense of nostalgia and nationalism that exists in the Indian and Pakistani Diaspora. Both the women are played by the artist, stressing the idea of a shared history.

Mangoes, 1999, by Bani Abidi. Video, Single Channel, 3:24 sec. "Two expatriate Pakistani and Indian women sit and eat mangoes together and reminisce about their childhood. An otherwise touching encounter turns sour when they start comparing the range of mangoes grown in either country, a comment on the heightened sense of nostalgia and nationalism that exists in the Indian and Pakistani Diaspora. Both the women are played by the artist, stressing the idea of a shared history."

“…A lot of artists work with abstract images. But then many don’t. The conventional idea of a plot, with a beginning, middle and end is only one way of storytelling. So if one wants to engage fully with the history and potential of the moving image, whether it is a feature film, a documentary, experimental cinema or an art work, the attachment to plot needs to loosen.

Defining video art is as difficult as trying to define painting as this or that type of image. Video art as a term makes more sense in historic terms. In the late 1960s, artists in Europe, Japan and North America had a grand time with the arrival of the first camcorder, the Sony Portapak…

Over the years, video art’s practitioners, influences and mediums have changed. The video medium is no longer of essence. Some artists use 16mm film and elaborate production methods to make short films, others fix their cameras on tripods and shoot performances in their studio. Some use broadcast quality video equipment to shoot an experimental documentary on the streets and yet another lot might just use archival television footage as material”

Shan Pipe Band Learns the Star Spangled Banner, 2004, by Bani Adibi. Video, Double Channel, 7:30 sec. " Video, Double Channel, 7:30 sec  Shan Pipe Band Learns the Star Spangled Banner, 2004  In November of 2003, the artist commissioned a brass pipe band in Lahore to learn how to play the American National Anthem, a piece that was not a part of their existing repertoire. Over an afternoon's sitting of listening to a recording of the music that had been provided them, and after much fumbling and practicing they were able to perform a version of it. The video is a recording of this process as well as a glimpse of their interaction and physical surroundings.  This piece is a metaphor for all forms of clumsy and forced cultural and political acquiescence that various individuals and governments have had to display towards the US in the past 3 years."

Shan Pipe Band Learns the Star Spangled Banner, 2004, by Bani Adibi. Video, Double Channel, 7:30 sec. "In November of 2003, the artist commissioned a brass pipe band in Lahore to learn how to play the American National Anthem, a piece that was not a part of their existing repertoire. Over an afternoon's sitting of listening to a recording of the music that had been provided them, and after much fumbling and practicing they were able to perform a version of it. The video is a recording of this process as well as a glimpse of their interaction and physical surroundings. This piece is a metaphor for all forms of clumsy and forced cultural and political acquiescence that various individuals and governments have had to display towards the US in the past 3 years."

When asked where to go to experience video art in India, Abidi replied:

Big galleries in Indian metros frequently feature video art. Gallery Espace in New Delhi hosted a year-long program called Video Wednesdays, where guest curators were invited to present their selection of videos once a week. It culminated in a discussion and a final show which took place last week. At the India Art Summit in Delhi (August 19 to 21 2009) you can watch over 90 videos.

Regarding notable Indian video artists, Abidi commented:

Nalini Malini and Ranbir Kaleka are two of the most senior practitioners of this medium and both incorporate their experience of painting and art history in their projects. A filmmaker like Amar Kanwar comes from a documentary film tradition. Younger artists like Shilpa Gupta, Sonia Khurana and Kiran Subbaiah move between the roles of activist, performer and cinematographer.

'Bird', by Sonia Khurana. Performance video, 1999. Duration, 2 minutes. Videotape, black and white, silent. Performed, shot, edited and conceptualized by Sonia Khurana.

'Bird', by Sonia Khurana. Performance video, 1999. Duration, 2 minutes. Videotape, black and white, silent. Performed, shot, edited and conceptualized by Sonia Khurana.

DISPLAY

An important distinction of video art lies within its display, which is a deliberate and important element of the artwork, and distinguishes it as more of an installation art piece than a conventional film.  Some artists provide buyers with highly specific drawn instruction of their display design, while others only require works to be played in a loop on a wall-mounted flat screen. Custom plans for the display of video art in a buyer’s home can get extremely creative, and include projection on suspended screens or other unexpected surfaces.

BUYERS

The all important question among the commercially minded arts scene: Does it sell?!? Like all commercially available art, contemporary video artists are keen to find collectors. Bhavna Kakar is a curatur-turned-gallerist who is embarking on a project promoting Indian video artists, and during an interview with the Times of India he remarks, “Five years ago, there were no takers but now works are selling.”

Auction houses are also promoting Indian video art, with Sotheby’s selling Sonia Khurana’s video work Bird: Retake in the 2007 Southeast Asian art auction. Indian video artists have found support in both private collectors and museums, and an emerging group of contemporary art collectors, including the notable private collectors Anurag Khanna and Swapan Seth,  have collections that are mostly comprised of video artworks.

AUTHENTICITY

Video art may have a viable base of enthusiastic collectors, but a common problem now with the buying and selling of video is the issue of unauthorized replication that devalues the legitimate limited edition works produced by an artist. This problem has been addressed with authenticity certificates, which are official documents required for the buying and reselling of pieces. Artists are also including watermarks in their videos, which can indicate authenticity to curators.

Curators and gallerists believe that video art is a natural progression for the generation that grew up in front of the TV and surfing the internet [Times of India.] In addition, convenient platforms like Youtube  are making the display of video artworks to vast audiences very easy and cheap. The nature of video is also very tactile, as it can be easily edited and changed to create something new. Considering all these traits, more talented, tech-savvy youthful artists are sure to emerge. Arts-watchers should know, video art is officially a trend.

Read full interview with Tehelka Magazine here.

-contributed by Erin Wooters

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Posted in Anupam Poddar, Collectors, India, Indian, Interviews, Museum collectors, Nalini Malini, New Delhi, Shilpa Gupta, Video | Tagged: , , , , , , , , , , , , , , , , , , , , , | 4 Comments »

Middle Eastern, Indian, Pakistani artists show seminal works in 3-city exhibition: Lines of Control

Posted by artradar on February 23, 2009


Anita Dube, River Disease, 1999

Anita Dube, River Disease, 1999

MIDDLE EAST SOUTH ASIA ART

Two influential art enterprises, Green Cardamom and Middle Eastern gallery The Third Line co-present Lines of Control, a fascinating series of exhibitions in Dubai, Karachi and London comprising both seminal and new works by 18 artists. Arguably this is a show of some of the most respected artists from the Middle East and South Asia working in contemporary art today.

The series which was initiated by the  Green Cardamom in 2007, the 60th anniversary of the partition of the subcontinent, explores both the chaos and the productive capacity of partitions through the practice of visual art.

The Third Line, Dubai: 15th January – 8th February 2009
VM Gallery, Karachi: 28th January – 28th February 2009
Green Cardamom, London: 18th February – 27th March 2009

Theme of the show: Partition

These last two years – 2007 and 2008 – mark the 60th anniversaries of two groups of nations that were ‘made’ through partitions: firstly, the independence of India and the creation of Pakistan (itself partitioned 24 years later to form another new nation – Bangladesh), and secondly, the creation of Israel from British-controlled Palestine. Both partitions have cast long shadows in world history and had an unprecedented impact. The 1947 fracture of India led to over 15 million people being displaced, and an estimated one million deaths over a few brutal weeks. The aftermath of Israel’s creation remains arguably the leading cause for global geo-political instability.

Art can be a means to explore areas of life where words fail us, and partitions and their aftermath are ripe for such exploration. Lines of Control is not only about commemorating the past, but about current lives in partitioned times: South Ossetia, Baghdad’s Green Zone/Red Zone, Israel’s ‘security barrier’, Kosovo, the Kurdish population in Iraq and Turkey, Cyprus, Northern Ireland, Pakistan’s tribal areas, India’s minority provinces – are all testimony to the seductive simplicity of drawing lines as a substitute for learning how to live with each other. Living these lines is a messy, bloody business but also offers a productive space where new nations, identities, languages and relationships are forged.

Interview with curator Hammad Nasser

Art Radar: How have the artists differed in the way they approached the subject?

Identity, nation, memory, history, borders


HN: The subject is vast – covering notions of identity and nation, as well as memory, history and borders.

In researching the topic and the works of artists that have addressed it, we were keen to include works that have become seminal, as well as encourage the production of new works.

Rashid Rana, All Eyes Skyward at the Annual Parade, 2004

Rashid Rana, All Eyes Skyward at the Annual Parade, 2004

Seminal works: Pakistani artist Rashid Rana

So among the 18 artists who participated in Lines of Control, nearly half showed existing works, in many cases borrowed from private collections. Rashid Rana’s large scale composite image, All Eyes Skywards at the Annual Parade, of a crowd waving Pakistani flags as it admires a fly-past is composed of thousands of stills from Bollywood films. A poignant commentary on Pakistani identity, despite best efforts, being defined by the other.

New works: Naeem Mohaiemen


Among the new works created I will pick out a wonderful set of digital prints and an accompanying stack of stamps bearing the portrait of Kazi Nazrul Islam, the Bengali poet who resisted Partition before losing his ability to speak.

In these companion works, the Dhaka and New York based-artist Naeem Mohaiemen excavates history to show how the governments of India, Bangladesh and Pakistan all tried to project their own political fantasies on the mute figure of the revered poet. By isolating Kazi’s eyes in public photographs, Mohaiemen argues that his eyes register their silent protest at these political machinations.

Nalini Malani, Iftikhar Dadi, Bloodlines 2008

Nalini Malani, Iftikhar Dadi, Bloodlines 2008

Collaborative work, embroidery: Indian artist Nalini Malani and Pakistani Iftikhar Dadi

Bloodlines, a collaboration between the Indian artist Nalini Malani and the Pakistani Iftikhar Dadi, is both old and new. The work was conceived by the artists, and made by embroiderers in Karachi initially in 1997. It is perhaps the first collaborative work between artists from both countries. For Lines of Control it has been realized again by Mr. Abdul Khaliq and his team in Karachi.

The individual panels, with their flat panels of coloured sequins, mimic the mapping process that defines borders, supposedly with detached objectivity. However, the red border lines, drawn by the Radcliffe commission as part of the de-colonization process, run across this field of gold as arbitrary lines of blood. The artists describe the dense golden sequins as “enacting an allegory of the individual, affirming its uniqueness and their diversity, yet also suggesting that their coming together illuminates and enriches the entire region without limit”.
AR: Have there been any unusual, unexpected or interesting responses from viewers, critics?

The exhibitions have been very well received in Dubai and Karachi, by audiences who have lived through the Partition, by students who know of it only through history books and by critics.

Perhaps the most touching reaction was by an audience member with tears in her eyes as she listened to and observed the Home project by Sophie Ernst: video clips of artists talking to their parents and grandparents about the homes they left behind at the time of Partition, projected on to small scale architectural models of the places described.

AR: Why were these 3 cities chosen? Are different responses expected in the different cities?

HN: Lines of Control is an ongoing project, and after the initial focus on India’s partition, we start looking at Palestine and other partitions in the Middle East. Thus it was important that we involve multiple geographies and engage people around histories that are not their own but have many similarities. With South Ossettia, Kosovo, Baghdad, Cyprus — even Belgium for goodness sake — all in the news in recent months; we have to learn how to live in peace with our partitioned selves.

AR: Do you think travelling art shows can play a part in healing partitions, rifts?

HN: I am not sure I believe that art can change the world. But I do believe that art has a role to play in helping us understand phenomenon where words fail us. Artists, by reaching us outside language, allow us to find new avenues of enquiry and reflection. Healing comes with understanding, and art can certainly help us understand in a way that is not didactic.

AR: What is different about a travelling art show compared with a static one confined to one country?


HN: Its a hell of a lot harder work! But less flippantly, putting together exhibitions is also a learning process. And by working in this way where we have worked with three locations, three very different spaces and three different contexts, it gives us a chance to develop a much more nuanced understanding of what we are dealing with. Speaking personally, I am learning more about each work and some of the notions they explore through every interaction I have with them. Hopefully we will be able to use this in taking the project forward.

Artists

The exhibitions include works by Bani Abidi, Roohi Ahmed, Farida Batool, Rana Begum, Iftikhar Dadi and Nalini Malini, Anita Dube, Sophie Ernst, Ahsan Jamal, Amar Kanwar, Tariq Khalil, Ahmed Ali Manganhar, Naeem Mohaiemen, Raqs Media Collective, Rashid Rana, Seher Shah, Abdullah Syed, Hajra Waheed and Muhammad Zeeshan.

Reviews and writing

Chinar Tree Jan 2009 – Strong informative review of the Dubai show, well worth reading. Concludes that this edition of the on-going show ‘lacks coherence to some extent’. However commends and discusses in detail artwork from the following artists : Anita Dube, Naeem Mohaiemen, Rashid Rana. Interesting quotes:

On comparison of Indian partition with the Holocaust: “Hammad feels that despite this being the case, little thought or attention is paid to the scars or after-effects left by the division of a country and its people. “If you compare the Holocaust in Europe to the partition of India, one has almost spawned a commemorative industry whereas there’s almost no trace of India’s partition. Why are there no memorials or museums commemorating this?” “

On future plans for the exhibition: “Next year we’ll look at partitions in the Middle-East, Palestine, Lebanon and possibly the Kurdish question in Iraq and Turkey, if we find the art. The longer-term plan is to look at this as a global issue, to include international artists and take this to museums around the world.” Hammad Nasser, curator

Anita Dube, River Disease 1999, detail

Anita Dube, River Disease 1999, detail

Art Asia Pacific: A useful background article by Hammad Nasser curator. Discusses the meaning of the exhibition title Lines of Control: a reference to ‘the messy legacy of colonisation’ and to the lenticular print of Farida Batool entitled Line of Control (see article for image).

On partition art’s growth in last decade: “In Partition’s immediate aftermath, most Indian artists were unable, or more probably unwilling, to address its smouldering embers. And in Pakistan, the idea of critically examining Partition opened up the uncomfortable prospect of national existential crisis. Since Partition’s 50th anniversary a decade ago, however, a rich seam of artistic production engaging the topic has emerged.”

Artists’ works discussed in depth: Shilpa Gupta’s Aar Baar, Farida Batool’s Line of Control, Anita Dube’s River/Disease

Farida Batool Line of Control 2004 lenticular print

Farida Batool Line of Control 2004 lenticular print

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Related categories: Political art, Identity art, Handicraft art, Middle Eastern art,  Indian art, Israeli art, Pakistani art

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Posted in Activist, Anita Dube, Collaborative, Collage, Curators, Gallery shows, Handicraft art, Identity art, Indian, Interviews, Middle Eastern, Migration, Nationalism, New Media, Overviews, Pakistani, Photography, Political, Professionals, Rashid Rana, Religious art, Shilpa Gupta, Social, Thread, War | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment »

ARCO Madrid 2009 international art fair news round-up – galleries drop out, public funding prop, Indian art

Posted by artradar on February 12, 2009


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INTERNATIONAL ART FAIRS

ARCO Madrid, one of the largest and most important international art fairs holds its 28th edition from 11 February to 16 February 2009  in a new location:  Halls 6, 8 & 10 at Feria de Madrid, Spain. 238 galleries from 32 countries are participating.

Financial downturn hits art worldBBC – 16 Feb 209 – video clip – An insubstantial very brief video story about how the crisis is affecting the art fair: some artists are using the crisis as inspiration for their art: interview with art fair director Lourdes Fernandez who says it is more difficult for some dealers this year.

Dealers reported mixed results at Spain’s monster contemporary art fair ArcoFinancial Times – 14 Feb 2009 – Georgina Adam reports that Spanish museums budgets have melted and prices of artworks have been reduced. Artists attracting interest/buyers included Georg Baselitz, Amaya Gonzalez Reyes, Eugenio Merino’s take off of Damien Hirst ‘For The Love of Gold’.

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Click to buy

Arco Beep New Media Art Award  – We Make Money Not Art  – 13 Feb 2009 – Post written by a member of the jury about the award, the entries and the winner. The award was won by Ubermorgen.com for its EKMRZ Trilogy, a fascinating triptych about the three kings of ecommerce Google, Amazon and ebay. The Google art work ‘Google will eat itself’ involves the artists raising money with google text ads and using the money to buy Google shares.

Panorama India Artslant provides a list of artists and galleries from India, Arco’s special guest country 2009.

Tatsumi Orimoto performs Punishment at Arco 2009 video – Vernissage TV

Hirst statue stars at Madrid show as dealers aim to defy slumpBloomberg – 13 Feb 2009 – A Florida collector bought Merino’s sculpture of Hirst committing suicide “Hirst is always trying to think of ways to make his art the most expensive. If he killed himself, then the value of his art would increase a lot.” Despite India being guest country only 13 galleries from there. US galleries dropped from 26 last year to 7 this year. Plenty of bargains. Russian GMG Gallery sold 2 photographs by Anatoly Zhuravlev to a prominent Swiss collector of Chinese art.

Image carousel Telegraph – 19 images of artists: Isaac Montoya, Filomena Soares, Jose Batista Marques, Enrique Marty, Madeleine Berkhemer, Vivek Vilasini  (India), Jitish Kallat (India), Valay Shende, Eugenio Merino, Yi Hwan-Kon, Samuel Salcedo, Bernardi Roig.

Indian art draws Europeans IANS via Zee News – 13 Feb 2009 – New trend in Indian art away from works on canvas towards installation and new media apparent in gallery shows and  Panorama, the show of Indian art curated by Bose Krishnamachari. Dayanita Singh in solo show, Shilpa Gupta work finds European buyer.

Gloom at major European art fair as boom in sales seen over  – AFP  – 12 Feb 2009 – This is a prediction story about the mood prior to the event. Galleries predict  limited cash, prices down 25% for contemporary art, buyers will take time over purchases. Artist view: lower prices an opportunity for young. Includes image carousel.

Arco Madrid 2009 opens – calm forecast  – Art Daily – 12 Feb 2009 – This is a facts piece with a promotional tone. It covers details of the move to the new location and the fair’s programmes and projects: India is showcased, three curated shows cover performance art, contemporary art and technology in art, there is a list of talk forums by experts and a description of the section showcasing capsule collections from private museums.

Recession triggers improvement in Indian art qualitySindhToday via IANS – 11 February 2009 – This is a views piece about how the collector base for Indian art is changing and broadening particularly in Europe and is based on interviews with Bose Krishnamachari curator of the special Indian Panorama section and Peter Nagy of Nature Morte, an exhibitor.

Fine Art Publicity - click to buy

Fine Art Publicity - click to buy

Galleries drop out of ARCOArtinfo – 5 Feb 2009 – Edited version of Der Standard story below.

ARCO hit by crisis– Artforum via APAvia Der Standard – 3 Feb 2009 – 20 galleries of 270 cancelled – dropouts include 2 from South America, one from Spain and Lisson Gallery London. Portugese Ministry of Culture provided funding to prevent more.

Related links: ARCO website

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Posted in Acquisitions, Bose Krishnamachari, Collectors, Dayanita Singh, Electronic art, Fairs, Indian, Interactive art, Madrid, Market watch, New Media, Participatory, Shilpa Gupta, Spain, Virtual | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

India’s first art museum Devi employs student curators for its second show – review Livemint

Posted by artradar on January 11, 2009


Shilpa Gupta Blame

Shilpa Gupta Blame

 

INDIAN ART MUSEUM SHOW

Where in The World to 3 May 2009 Devi Art Foundation

Renowned Indian art collector Anupam Poddar opened India’s first art museum, the Devi Art Foundation in 2008. ‘Where in the World’ is its second exhibition and contains works from the Lekha and Anupam Poddar collection of contemporary Indian art. According to Devi’s website

This collection will be the future’s memory of this phase in Indian art. In the absence of other such collections, it may be our only memory of these years.

”Where in the World’ was curated by the students from the first class on art curating at Jawaharlal Nehru University and the result is  ‘adolescent’ says Livemint which at the same time lauds collector Anupam Poddar’s ‘noble’ efforts to promote art education.

while the curating of the show may be weak, it speaks volumes for the foundation that it chose to work with students rather than experienced curators for its second show. It shows that the foundation’s mission is to encourage education just as much as it is to display and promote art.

Happily the  ‘shaky’ execution of the display in which artworks overlap and descriptions are taped to the wall, is more than compensated for by the quality of the works

the artwork is without question some of the best contemporary art in the country.

Poddars before Jaguar in love

Poddars before Jaguar in love

In particular Livemint likes

Atul Dodiya’s mixed media painting B for Bapu, which traps Gandhi behind a rolling grill shutter and Sudarshan Shetty’s giant T-Rex fornicating with a Jaguar (the car) in Love (both of which) have rarely been displayed in the public sphere before.

And overall the show can be enjoyed for its

  sense of playfulness: Rooms hum with the clattering of typewriters and odd machines blow bubbles. Viewers must walk into Shilpa Gupta’s strange apothecary shop, Blame, where the word “Blame” pulsates off flourescent-lit glass bottles.

Newer work, such as the installation Untitled by Susanta Mandal that plays with bubbles; and the video installation piece Pan(i) City by Gigi Scaria, are also given space alongside more monumental pieces from the recent past.

In sum

While there are still some kinks to work out, the exhibit proves Poddar’s genius. The foundation is a force to be reckoned with: It is not about consumerism or the marketability of Indian art, but the simple pursuit of celebrating contemporary art in India.

Livemint

The exhibition includes works by A Balasubramaniam, Atul Bhalla, C. Nannaiah, Sheba Chhachhi, Krishnaraj Chonat, Nikhil Chopra, Atul Dodiya, Anita Dube, Nicola Durvasula, Sheela Gowda, Probir Gupta, Shilpa Gupta, Subodh Gupta, Sonia Jabbar, Bharti Kher, Sonia Khurana, Susanta Mandal, N. Pushpamala, Jeetander Ojha, Jagannath Panda, Srinivasa Prasad, Ashim Purkayastha, Gigi Scaria, Mithu Sen, Tejal Shah, Sudarshan Shetty, T.V.Santhosh, and Navin Thomas.

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Posted in Anupam Poddar, Atul Dodiya, Bharti Kher, Collectors, Curators, Emerging artists, Gigi Scaria, India, Individual, Mithu Sen, Museum shows, Museums, Shilpa Gupta, Subodh Gupta, Surveys, Susanta Mandel, TV Santosh | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Indian contemporary art survey Chalo at Mori in Japan to March 2009

Posted by artradar on November 24, 2008


Bharti Kher The Skin Speaks a Language not its Own

Bharti Kher The Skin Speaks a Language not its Own

 

 

INDIAN CONTEMPORARY ART SURVEY

Chalo! India: A New Era of Indian Art 22 November to 15 March 2009

From the press release:
“Chalo” is Hindi for “Let’s go.” With the words “Chalo! India” (Let’s go! India), we invite you to discover an explosion of creativity and vitality in Indian contemporary art. “Chalo! India” will take you on a journey through more than 100 works by 27 artists and artist groups from all over India. Encompassing a broad range of media, including painting, sculpture, photography and installation, this exhibition examines the latest movements in Indian contemporary art.

Movements and themes: modernisn, political criticism, urbanisation and globalisaton

Following independence from Britain in 1947, Indian artists began exploring new forms of artistic expressions-drawing inspiration and ideas from Western modernism, and India’s own distinctive culture. Over the next 60 years, new types of work that powerfully embodied political and social critiques emerged. More recently, Indian artists have been making works that respond to urbanization and changing contemporary lifestyles-art that reflects the rapid economic development, and globalization that has taken hold since the 1990s. Today the lively Indian art scene is spreading its wings both at home and abroad, and has been attracting a great deal of international attention.

“Chalo! India” is a significant survey of new Indian art, including a sociological research project involving architects and intellectuals, and state of the art interactive media work-as befits an IT giant such as India. Most people see India in terms of its rich and influential history, its Gods and devotion, Bollywood movies, or its awakening as an economic giant. However, there is so much more to the complex and dynamic India of today. “Chalo! India” explores and celebrates the depth of this country; the contradictions of its society, the dreams and hopes of its people, and its energy and passion toward the future.

See tags for participating artists, click here for Exhibition website, more on Indian art, surveys of Asian art

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Posted in Indian, Japan, Jitish Kallat, Justin Ponmany, Museum shows, New Media, Political, Shilpa Gupta, Subodh Gupta, Urban | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »