Posted by artradar on October 19, 2010
INDIA FESTIVALS NEW MEDIA ART
Artists, critics, historians and art lovers gathered at the First National Art Week of New Media in late September this year at the Government Museum and Art Gallery in Chandigarh, India, through the collaboration between the National Lalit Kala Akademi and Chandigarh Lalit Kala Akademi. The six-day panorama is a showcase of contemporary artists exploring new mediums and possibilities when it comes to visual art. According to the Akademi’s chairperson Diwan Manna, “Art lovers will be amazed at the myriad possibilities in art.”
The first four days featured lectures and slide shows by some of India’s best known contemporary artists. For the first day Bharti Kher whose work encompasses sculpture, paintings and installations, delivered her talk. Her featured works tackled the topic of “traditional vis-à-vis modern” while at the same time explored the issues of feminism, class, identity and race.
Bharti Kher, 'Solarium Series I', 2007-2010, fiber glass and metal. Image taken from artnet.com.
Day two presented Sudarshan Shetty and his innovative and uncanny installations that re-establish his reputation as an acclaimed conceptual artist.
Sudarshan Shetty, 'Untitled' (from the Stab-series), 2009, wood and scissors. Image taken from artnet.com.
The third day was for Raqs Media Collective, a group of three media practitioners – Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. In addition to their degrees in Mass Communication, the trio has extensive experience when it comes to curating exhibitions and planning events, as well as working with various writers, architects and directors that have greatly contributed to the contemporary art of India.
Jiten Thukral and Sumir Tagra’s collaborative work in several diverse media such as painting, sculpture, video and fashion have also been well-received.
On the fifth day, Dr. Alka Pande, curator, professor and author on Indology and art history delivered her lecture. The sixth and final day featured a panel discussion with professors Dr. Alka Pande and Dr. Awadhesh Misra, journalist Rahul Bhattacharya, writer and art critic Dr. Rajesh Kumar Vyas, and artists Sheba Chhachhi and Vibha Galhotra.
Jiten Thukral and Sumir Tagra, 'Now in Your Neighbourhood', 2008, plastic bottles. Image taken from artinfo.com.
The event was an interactive and absorbing series inviting guests, students, critics and art lovers to explore more than the usual two or three-dimensional way of experiencing art. Talks from the artists themselves provided an insight into artistic creation and people from different areas of the industry provided another kind of perspective in viewing the works and Indian art in general.
The National Lalit Kala Akademi and its Chandigarh chapter, the Chandigarh Lalit Kala Akademi are institutions established for the promotion and preservation of the fine arts of India.
Related Topics: Indian artists, new media, Indian venues, festivals
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Posted in Events, Festival, Indian, New Media | Tagged: art critics, art history, art scholars, art writer, artist groups, Bharti Kher, Chandigarh, Chandigarh Lalit Kala Akademi, class, CMMS/EN, collaborative art, conceptual art, contemporary indian art, contemporary indian artists, Diwan Manna, Dr. Alka Pande, Dr. Awadhesh Misra, fashion art, feminism, festivals, First National Art Week of New Media, Government Museum and Art Gallery, identity, India, Indian, Indian artists, Indology, installations, Jeebish Bagchi, Jiten Thukral, Lalit Kala Akademi, Mass Communication, Monica Narula, National Lalit Kala Akademi, New Media, New Media Art, Now in Your Neighbourhood, paintings, race, Rahul Bhattacharya, Raqs Media Collective, sculpture, Sheba Chhachhi, Shuddharbrata Sengupta, Solarium Series I, Stab-series, Sudarshan Shetty, Sumir Tagra, traditional vis-à-vis modern, Vibha Galhotra, Video art | Leave a Comment »
Posted by artradar on October 13, 2010
INDIAN CONTEMPORARY ART EXHIBITIONS LONDON VIDEO
Between January and May this year, Indian contemporary artist Jitish Kallat displayed seven pieces, paintings, sculptures and installations, at Saatchi Gallery, London with 23 other contemporary Indian artists in an exhibition called “The Empire Strikes Back: Indian Art Today”. In a video produced by The Economist titled “Jitish Kallat: perspectives on modern Indian art”, Kallat discusses his and the other artists’ work from this exhibition.
In the video, Jitish Kallat reveals what it is about contemporary Indian art that makes it so interesting for him; Indian art today is influenced by almost every aspect of Indian culture and the repositioning of the country on the global map is aiding the development of the art scene.
“The Empire Strikes Back” shows different contemporary Indian artists expressing political statements through their work. The pieces “actually travel and gather art miles…and as they gather art miles in different locations they share and gain meaning.” For Jitish, this repetition of artists’ intentions through different cultural stimulants in different parts of the world remains a great area of interest.
As people around the world are able to access different cultures more easily they feel more empowered to deconstruct the culture code from different places around the world. However, as he states in the video, Jitish Kallat feels that “the world has this peculiar ghostly sense of sameness within which these objects travel with baggage of tales and stories and meanings and metaphors and I think I find this process exciting, challenging and also instructive.”
The first piece discussed by Kallat in the video is Eruda (2006, black lead on fibreglass, 419 x 169 x 122 cm). Eruda is a massive black lead sculpture, the development of which stemmed from a series of photographs of boys selling popular books at the traffic lights. As Kallat relays in the video, this boy represents the spirit of the city, most particularly the quintessential Indian city of Mumbai.
Jitish Kallat, Eruda, 2006, black lead on fibreglass, 419 x 169 x 122 cm.
Related to Eruda, Kallat’s “Eclipse” series of paintings also capture these boys smiling back. The paintings represent someone who not only lives in Mumbai but is themselves a portrait of the city. One of the images in the video reveals that the hair of each boy almost merges together and is actually made up of interconnecting images of people and streets. As Kallat states on the video, this is meant to show that “everyone who lives in the city of Mumbai is somehow tied into one conjoint reality.”
Public Notice 2 (2007, 4,479 fibreglass sculptures, dimensions variable) is an installation using words from Mahatma Ghandi’s historic 1930’s speech. For Kallat, given the everyday rhetoric that has created some sort of terror-affected world, voices such as Ghandi’s become carriers of a message that can help overcome the foolishness of the contemporary world. The piece is large in size which, for Kallat, is central to the creation of the meaning of the piece. However, once the video moves in to focus on the letters it becomes clear that each alphabet is a sculpture of a letter morphed out of bones.
The final piece in the video, Death of Distance (2007, black lead on fibreglass, a rupee coin and five lenticular prints, sculpture 161 cm diameter, prints 46 x 60 cm), refers to two texts that entered the public domain around the same time. The first is the story of a girl who committed suicide because her mother could not give her one rupee for a meal in school due to extreme poverty. The second article is a press release by a telecommunications company which claimed the “arrival of new India.” The press release famously called this event “the death of distance in India” and stated that it would now cost only one rupee to call from any part of India to another.
The installation includes five frames carrying both texts on each frame. They flip according to where you stand. It also includes a coin of one rupee enlarged to a size of an average person from India. Kallat states in the video that the flipping texts “become like reality in India itself: [the] India you see on that day depends on where you stand at that particular moment.”
Jitish Kallat, Untitled (Eclipse) 3, 2007, acrylic on canvas, triptych, 274 x 518 cm.
Jitish Kallat was born in Mumbai in 1974. He received his BFA in painting from Sir Jamsetjee Jeejebhoy School of Art and his work has been exhibited worldwide, appearing in New York, London, Tokyo, Sydney, Madrid, Zurich, Amsterdam, Mumbai, and New Delhi.
To see video, click here.
Related Topics: Indian artists, videos, gallery shows
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Posted in Indian, Jitish Kallat, Painting, Sculpture, Videos | Tagged: "Eclipse" series, alphabet, art gallery shows, art video, black lead, contemporary indian art, contemporary indian artists, Death of Distance, Elena Nikolaeva, Eruda, fibreglass, gallery shows, Indian contemporary art, Jitish Kallat, London, Mahatma Ghandi, Mumbai, Painting, photography, Public Notice 2, public speech, Saatchi Gallery, sculpture, the city, the death of distance in India, The Economist, The Empire Strikes Back: Indian Art Today, urban art, Video, Video Interview, words in art | Leave a Comment »
Posted by artradar on July 27, 2010
ART MARKET INDIAN ART MODERN ART AUCTIONS
For some time now, the Indian art market has been reviving after the post-2008 buying slump. New Delhi-based journalist John Elliott, who runs the current affairs blog Riding the Elephant, reports in a recent post that now it may well be on the first step towards similar pre-2008 peak figures. However, the artists raking in money this time around are not contemporary but modern Indian artists.
In June this year, Sotheby’s raised USD7.9m in a mostly Indian art sales. In the same month, Saffronart sold art worth USD6.7m, and together with a Christie’s two day sale of USD18.1m, Indian art sales for the month of June totaled a substantial USD32.7m.
Rabindranath Tagore's 'Portrait of a Woman' sold for over USD461,000 at Sotheby's.
Elliott reports that ArtTactic, a London based art market analysis firm believes that average auction prices and volumes for modern Indian art are now back to levels seen at the market’s peak in June 2008. Anders Peterson, who runs the firm, adds that,
The return in the confidence for the Indian art market is at the high end of the market.
A significant change from the trends of 2008 is the consistent sales of established veteran artists of Indian modern art rather than contemporary artists. However, given the overall push in the performance of the market, contemporary sales have also picked up. ArtTactic reports that previously popular contemporary artists such as Subodh Gupta and Jitish Kallat are still lagging far below 2007-2008 prices.
Saffronart founder and owner Dinesh Vazirani agrees with ArtTactic’s line on modern art. He says,
Auction prices are reasonably close to their 2008 peak. Serious collectors are there and this is backed with confidence in the Indian economy and with people investing as a hedge against inflation.
But how much do these results tell us about trends in buying Indian art? Anders Peterson from ArtTactic believes that,
Auctions are now a filtered version of the reality in the art market. Lots that are likely to sell are works of high quality, rarity and outstanding provenance. Works that do not demonstrate these qualities are still selling at lower prices or not at all. Therefore the return in confidence is at the high end of the market.
SH Raza's 'Rajasthan'.
The highlight of the Sotheby‘s sale were the works of Indian modernist painter, poet, philosopher and Nobel Prize winner Rabindranath Tagore, while Saffronart relied on modern art veterans like S.H. Raza, who was part of the Bombay Progressive Artists’ Group and now lives in Paris. His wife, Janine Mongillat, died in April 2002.
Related Topics: Indian art, Bombay Progressive Artists’ Group, market watch- auctions
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Posted in Auctions, Business of art, Classic/Contemporary, Collectors, Indian, London, Market watch, Painting, Progressive Artists' Group | Tagged: Ananya Mukherjee, Anders Peterson, Arttactic, Auction result, Christies, contemporary indian art, contemporary indian artists, Dinesh Vazirani, Financial Times, indian modern art, Jitish Kallat, John Elliott, market analysis, market watch, Modernist painters, Portrait of a woman Rabindranath Tagore, Rabindranath Tagore, Saffronart, SH Raza, SH Raza Rajasthan, Sothebys, Subodh Gupta | 6 Comments »
Posted by artradar on September 14, 2008
ART FAIR CHINA EMERGING ARTISTS
“Best of Discovery” is a unique curated section of Shanghai’s premier art fair ShContemporary 08 featuring over 30 selected emerging artists from the Asia Pacific region who are presented to a global audience for the first time.
In a “ground-breaking move” ShContemporary founder Rudolf has commissioned a team of independent curators with knowledge of their given regions to make an informed selection of work by promising younger artists largely unknown on the international stage says the Financial Times. They have scoured not only China but Australasia, Central Asia, India, Indonesia, Japan, Korea, the Middle East, Taiwan and Thailand.
The works are on display in an open-format, museum-like installation in the grounds of and inside the imposing Soviet-built Shanghai Exhibition Centre, where the ShContemporary fair is held from September 10 to 13 2008.
Selected on merit not gallery affiliation
The pieces have been selected not on gallery affiliation but on merit alone. “In fact” says the Financial Times “half the artists selected had no gallery representation at all. For the purposes of the fair, exhibiting dealers have sponsored these artists, forging temporary relationships that may well continue after the event.”
The 11 international curators selected a range of “markedly experimental” works says Artkrush. “Pieces by better-known figures such as Beijing’s Wang Luyan – a muscular satirist of consumption and politics – share space with Yael Bartana who employs cultural symbols to unpack political concerns, and from Japan, upstart provocateur Tadasu Takamine – most notorious for his controversial Kimura-san video, which shows the artist helping a disabled friend masturbate – is grouped with his more sedate countryman Sakae Ozawa.”
Intriguing art from Central Asia, Caucasus
The Financial Times notes that “the most intriguing is the work being produced in those regions where creativity has been frozen, corrupted or isolated for decades, even centuries”. Perhaps least known is the art of the new Central Asian republics which first made their debut on the international stage at the Venice Biennale in 2005. To represent Central Asia and the Caucasus, curator Sara Raza has alighted on the work of the outlandish Kazak performance artist Erbossyn Meldibekov and also on the emerging Georgian artist Sophia Tabatadze.
List of Asian artists: Cambodia: Sopheap Pich (1969 Cambodia), Central Asia: Sophia Tabatadze (1977 Georgia), Erbossyn Meldibekov (1964 Kazakhstan), China: Wang Luyan (1956 Beijing), Zhu Jinshi (1954 Beijing), Wang Zhiyuan (1958 Tianjin China), Shi Yong (1963 Shanghai), Chen Yenling (1969 China), Taiwan: Effie Wu (1973 Taiwan), Huang Po-Chih (1980 Taiwan), India: Tushar Joag (1966 India), Vibha Galhotra (1978 India), Ved Gupta (1975 India), Sumedh Rajendran (1972 India), Indonesia: Agus Suwage (1959 Indonesia), J Ariadhitya Pramuhendra (1984 Indonesia), Japan: Tadasu Takamine (1968 Japan), Sakae Ozawa (1980 Japan), Hiraki Sawa (1977 Japan), Korea: Jina Park (1974 US works in Korea), Clara Shin (1974 Brazil works in Korea), Jo Jong Sung( 1977 Korea), Thailand: Dearborn K Mendhaka (1979 Thailand), Vietnam: Nguyen Thai Tuan (1965 Vietnam), Israel: Yael Bartana (1970 Israel), Iran: Reza Aramesh (1968 Iran)
List of Asian specialist curators: Erin Gleeson (Cambodia), Sara Raza (Central Asia, Western Asia, Middle East), Huang Du (China), Sean CS Hsu (Taiwan), Deeksha Nath (India), Rikky Effendy (Indonesia), Reiko Tsubaki (Japan), Shin Young Chung (Korea), Sutee Kunavichayanont (Thailand), Din Q Le (Vietnam)
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Posted in China, Chinese, Fairs, Georgian, Indian, Indonesian, Iranian, Israeli, Japanese, Kazakhstani, Korean, Middle Eastern, Southeast Asian, Taiwanese, Thai | Tagged: Agus Suwage, Asian artists, Asian curators, Best of Discovery, Cambodian artist, Chen Yenling, Chinese artist, Clara Shin, contemporary indian art, curators in Asia, curators of Asian art, Dearborn K Mendhaka, Effie Wu, emerging artists in Asia, Erbossyn Meldibekov, Georgian artist, Hiraku Sawa, Huang Po-Chih, Indian artists, Indian sculpture, Indonesian artist, Iranian artist, Israeli artist, J Ariadhitya Pramuhendra, Japanese artists, Jina Park, Jo Jong Sung, Kazakhstani artists, Korean artists, Nguyen Thai Tuan, Reza Aramesh, Sakae Ozawa, ShContemporary, ShContemporary 08, Shi Yong, Sopheap Pich, Sophia Tabatadze, Sumedh Rajendran, Tadasu Takamine, Taiwanese artists, Thai artists, Tushar Joag, Ved Gupta, Vibha Galhotra, Vietnamese artists, Wang Luyan, Wang Zhiyuan, Yael Bartana, Zhu Jinshi | Leave a Comment »
Posted by artradar on August 26, 2008
Vidya Kamat Birthmark Series
CONTEMPORARY INDIAN AND THAI ART SHOW August 16 to September 27 2008
Gallery Souflower, Bangkok’s only gallery exhibiting contemporary Indian art, in Silom Galleria is showing “The Ethics of Encounter: contemporary art from India and Thailand” until September 27 2008. The show is a juxtaposition of Thai and Indian art and showcases a variety of media and methods, from video and painting to performance.
Artists include Ranbir Kaleka, Vidya Kamat, Manjunath Kamath, Sudsiri Pui-Ock, Navin Rawanchaikul, Pinaree Sanpitak, Rirkrit Tiravanija, and Chintan Upadhyay.
Vidya Kamat Birthmark Series
Navin Rawanchaikul, a Thai artist who resides in Japan and has Hindu Punjabi origins has exhibited at many biennials and is known for his taxi themed projects such as Navin Gallery Bangkok Run from 1995 to 1998 in which the artist converted a taxi into an art gallery and invited artists from Thailand and around the world to exhibit.
Vidya Kamyat, who has exhibited in a solo show in New York concerns herself with the human body and its veils proposing that there can be no pure unmediated relationship with the body.
Navin Rawanchaikul Reception Room Video
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Posted in Gallery shows, Identity art, Indian, Thai, Vehicles | Tagged: Chintan Upadhyay, contemporary indian art, contemporary thai art, Gallery Soulflower, Indian art, Indian artists, Indian photography, Manjunath Kamath, Navin Rawanchaikul, Navin Rawanchaikul Taxi, Pinaree Sanpitak, Ranbir Kaleka, Rirkrit Tiravanija, Silom Galleria, Sudsiri Pui-Ock, Thai art, Thai video, The Ethics of Encounter, Vidya Kamat, Vidya Kamat Birthmark | Leave a Comment »
Posted by artradar on May 25, 2008
INDIA The Indian art market is going through a major transformation, where the market’s focus has shifted from modern Indian art to contemporary Indian art.
According to a report this month by ArtTactic, an art market research service which provides analysis and advice for art collectors, art professionals, art institutions and art funds, its contemporary art market Confidence Indicator now stands 20 per cent higher than the indicator for the modern art market. However, recent auction results show that there is still strong demand for the right period works by a selected number of modern Indian artists such as FN Souza, MF Husain, VS Gaitonde, Ram Kumar and SH Raza.
Western museums and private collectors have started to take a strong interest in what is happening in India at the moment. This will continue in 2008, with exhibitions planned at the Serpentine Gallery, the Saatchi gallery, the Mori Art Museum, as well as the current exhibition “Passage to India” at Initial Access, the space recently opened by UK collector Frank Cohen.
According to the ArtTactic Indian Art Market Confidence Survey, the overall Indian art market confidence indicator fell 13 per cent from the last reading in October 2007.
The indicator has been hit by a 54 per cent drop in both the current and future confidence in the economy. With India’s inflation surging to a more than three-year high, with global financial markets in decline and with crude oil prices rising, the economic prospect looks less promising than six months ago. And as the economic component of the confidence indicator carries a 33 per cent weighting in the overall Indian Art Market Confidence Indicator, the significant loss in confidence weighs heavily on the overall results.
However, despite the fall in overall ArtTactic Indian art market confidence, both the confidence levels in the modern and contemporary market increased significantly: up 17 per cent and 6 per cent respectively.
After the slowdown that started at the beginning of 2007, where the modern Indian art market experienced a 38 per cent drop in annual auction volume compared with the record year of 2006, the modern Indian art market is now regaining some of the lost confidence.
The ArtTactic Indian Modern Art Market Confidence Indicator is up 27 per cent from the last reading in October 2007, and while the survey respondents are less positive about the near future of the Indian contemporary market, the “expectation indicator” for the modern art market stands 23 per cent higher than the “present indicator”, showing the modern art market could be about to regain some of the ground that it recently lost.
The ArtTactic Indian Market Confidence Indicator was launched in May 2007. It is derived from polling 81 respondents, including curators, collectors, dealers, galleries and auction houses operating in the Indian art market.
Posted in Collectors, Indian, Market watch | Tagged: art market, art market confidence, art recession, Arttactic, contemporary, contemporary indian art, Financial Times, FN Souza, Frank Cohen, India, Indian, Indian art market, Inital Access, market, MF Husain, modern, Mori Art Museum, Ram Kumar, Saatchi Gallery, SH Raza, VS Gaitonde | Leave a Comment »