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Posts Tagged ‘Peter Nagy’

Rashid Rana show proof of Musée Guimet new contemporary acquisition policy – interview with curators

Posted by artradar on August 5, 2010


INTERVIEW ASIAN ART MUSEUM CONTEMPORARY ART PAKISTANI ARTISTS

Revolutions come far and few in between in the museum world. This season promises to be different. The Musée Guimet, France’s leading ancient Asian art museum, has opened its doors to contemporary Asian art for the first time since its inception in 1898. Leading the transition from the museum’s rich history of antique collections to a contemporary view of art is a show called “Perpetual Paradox”, featuring works by Pakistani artist Rashid Rana.

The director of Musée Guimet Jacques Gies, who is also one of the curators of the show, says of this move,

The museum is much more than a safety-deposit box for antiques. In view of the value of the Asian dynamic in our modern-day world – where Asian cultures are for the first time in Western history making a place for themselves that grows larger every day – the time has come, we believe, to reflect on and reconsider our notion of the museum.

Rashid Rana. Red Carpet. 2007

Rashid Rana, 'Red Carpet', 2007.

Art Radar Asia spoke with Jacques Gies and Caroline Arhuero, curators of “Perpetual Paradox” at the Musée Guimet about, among other things, what the move means for the Musée Guimet and the museum world in general.

Since 1945, Musée Guimet has been home to a prestigious, one of a kind collection of ancient Asian art. With “Perpetual Paradox”, the museum exhibits contemporary art for the first time. What prompts this foray into contemporary Asian art? Does the museum have plans to build a contemporary Asian art collection?

This policy of the ‘Contemporary Factory of Art’ will to be the spearhead of a new acquisition policy, in resonance with the collection. This is in order to extend the historical competency of the museum until the contemporary time and also towards the future.

How did the curators zero down on Rashid Rana?

We heard of the artist’s name from the president of Sotheby’s France, Mr. Guillaume Cerutti, and then we conducted the research and here we are today.

Tell us about the experience of working with Rashid Rana on “Perpetual Paradox”?

With the artist, a very positive working relationship … hearing each other out. So, we were able to well place his works, with his agreement, within the permanent collections of the museum.

How does this experience compare with other shows you have organised?

Last year, at the first ever exhibition of the “contemporary art factory”, with the living artists Hung-Chih Peng and Chu Teh-Chun, we experienced the same great interest for this difficult exercise. Moreover, these artists [are] very aware of the quality of the ancient works [currently in the museum], even showed some concern about this challenge. Only the greatest [contemporary artists] have this modesty.

What challenges have you faced? What have you enjoyed the most? What has surprised you the most as the curator of “Perpetual Paradox”?

They were numerous, as this exhibition by principle requests a tricky solution to avoid “over interpretation”. [We needed to] create dialog between the works, those of Rashid Rana and the historical collection, without over interpretation [and] find the secret link that can give each his dimensions. The greatest satisfaction is that this setting was rewarding because it was just. My surprise was to see the first works by R. Rana – especially the “sculptures” – integrated particularly well [into the museum’s collection]…

The exhibition, “Perpetual Paradox”, places Rana’s “paradoxical” pieces amongst ancient Asian art pieces.  This opens up several dialogs between the past and the present. How have the curators and the artist envisioned this?

The cross-historical dialog is precisely what we want to give [and] to see … integrate the work of a contemporary artist, that with this stimulus somehow our audience may feel the contemporary dimension of the works from the past … the museum can be this link crossing all times. Aren’t we [the viewer] the contemporary of all creations of art, as we receive them in the present, from the paintings [at] Lascaux to contemporary pictures?

Can you name some of the works in “Perpetual Paradox”? How did the curators narrow down on the works?

The selection of the works was made in consultation with the artist. It can be looked at it [in] fives ways: (1) “The Idea of abstract”; (2) “Transcending Tradition”; (3) “Real Time, Other Spaces”, (4) “Between Flesh and Blood”; and (5) “Self in other”.

Rana’s work is truly contemporary in the way he uses technology. His content is driven in some ways by the presence of technology in our lives. But at the same time, his free use of traditional motifs sets him apart from a lot of artists. How would you place this contradiction within Rana’s work? What is it that you think makes him an important artist today?

Here is precisely the paradox! But there is no contradiction between the use of a process, a very modern technology, and the ancient subjects. This is precisely because he assumes both…

This is the second showing of Rana’s work in France, after the first at a group show in 2006. How have the viewers responded to Rana’s work?

It seems this is the first exhibition of this scale in France, certainly for a monographic exhibition. The first ever reactions, including [those] from the staff of the museum, are extremely positive. They see a new step in the policy of the Musée Guimet.

Museum shows are stepping stones in an artist’s career. This is Rana’s eighth museum show in nine years. “Perpetual Paradox” is also his first solo in France. What do you foresee for this prolific artist?

We are convinced of the large stature of the artist R.Rana. It is clear that his name will shine; that he will be an artist contributing to a refocus of the international artistic scene in Asia.

What would you say about the growing interest in Asian contemporary art? Do you see a substantial change in the last, say ten to fifteen years?

Definitely. This is a question we could not imagine five years ago.

Are there more contemporary shows in the pipeline at the Musée Guimet?

Of course. We underline it, a coherent policy with the title “Contemporary Factory of Art in Asia”.

Interview ends.

About Rashid Rana and “Perpetual Paradox”

Trained as a painter, Rana is well known for using a variety of media like photography, video and installations, but dislikes being called a photographer, video-artist or sculptor.

Rashid Rana. Sites_1-C Print+ DIASEC. 60.96cm* 91.44cm. 2009

Rashid Rana, 'Sites_1-C Print+ DIASEC', 60.96cm x 91.44cm, 2009.

In “Perpetual Paradox”, Rana’s work in digital imaging allows him to associate opposing elements in the same piece by inlaying micro-photographic details and creating pixellated images. By associating the seen with the unseen, the artist highlights the hostility between cultures, holding responsible those who create today’s images and therefore play a role in the construction of tomorrow’s traditions. Rana says of his work,

In this age of uncertainty we have lost the privilege of having one world view. Now every image, idea and truth encompasses its opposite within itself.

Rana made his mark on the Asian art circuit with his first-ever international show in 2004 at New Delhi’s Nature Morte art gallery run by Peter Nagy. Thematically, Rana’s work express a solid affiliation with the miniature arts tradition but his fascination seems to be with the idea of “gestalt” – that the whole is perceived as more than the sum of its parts.

For instance, in a 2005 show called “Beyond Borders: Art of Pakistan” at the National Gallery of Modern Art, Mumbai, Rana’s Creating Identity showed the human body as the sum of a thousand fragmented pieces which were put together in a way such that one could see visible cracks between each fragment. Viewed from afar, the digital print showed people with their gaze affixed at the sky during a National Day Parade. On closer view, it became apparent that the bodies were made up of miniature images of scenes from Bollywood films, an obsession shared by people across the India-Pakistan border.

Similarly in a 2010 show called “Hanging Fire” at Asia Society, New York, showcasing Rana’s “Red Carpet” series, the carpet works as a euphemism for buyable cultural memories and heirlooms.

Rana’s images work to undo the intricate beauty and cultural historicism of the carpet and create a new layer of meaning by appropriating gory, actual photo-images comprising thousands of tiny images, “pixels”, depicting the slaughter of goats as prescribed by Halal law. Rana’s works impact through a series of additions, subtractions, cultural associations and interpretations, all the while challenging one’s “one world view”.

AM/KN

Related Topics : museum collectors, Pakistani artists, museum shows

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Posted in Acquisitions, Art spaces, Asia expands, Caroline Arhuero, Carpet art, Collectors, Computer animation software, Curators, Events, France, From Art Radar, Installation, Interviews, Islamic art, Jacques Gies, Museum collectors, Museum shows, Museums, New Media, Pakistani, Photography, Professionals, Rashid Rana, Sculpture, Venues, Video | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a 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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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 »

Asians, women show momentum and banks tumble in Art Review’s Power 100 2008

Posted by artradar on October 23, 2008


INFLUENCERS ART

Art Review monthly magazine has published its Power 100 list for 2008.  Produced annually since 2001 it is a ranking of the most influential participants in the art world and includes artists, gallerists, auctioneers and collectors.

Trends this year include

  • Higher rankings and numbers for women in a market tradtionally dominated by men – Kathy Halbreich is first woman to appear on her own in the top 10. Ranked third, behind Hirst and gallerist Larry Gagosian, she is the newly appointed Associate Director of MoMA, New York.
  • Tumbling influence of banks  – as the global credit contagion spreads, financial institutions take a tumble  with both UBS and Deutsche Bank, longtime key art sponsors, ranked 62 and 63 respectively in 2007, falling off the Power 100 in 2008. 
  • Asian participants showing momentum or appearing for the first time.

Takashi Murakami (28), a superbrand not dissimilar to Damien Hirst’s model comes in at 61 places above his 2007 ranking for a year that saw a major exhibition of his work, including a Louis Vuitton store selling Murakami’s own branded products, travel across the US and draw record numbers of museum goers.

Ongoing artistic and financial strength in emerging markets has seen new listings for collectors Roman Abramovich and Dasha Zhukova (54) and a strong rise by Chinese artist Cai Guo-Qiang (69, from 99 in 2006), with first-time appearances by the Beijing-based Long March Project (93) and Delhi-based gallerist Peter Nagy (95).

 

Asian artists

  • Takashi Murakami no 28 (Japanese) wiki site
  • Ai Weiwei no 47 (Chinese)
  • Cai Guo Qiang 69 (Chinese) wiki
  • Subodh Gupta 92 (Indian)  pics
  • The Long March Project 93 (Chinese) pics  site

 

Collectors from Asia

  • Sheikh Mohammed bin Zayed al Nahyan no 30
  • Roman Abromovich and Daria Zhukova no 54
Asia-based gallerists

Entrants are judged on the following four criteria, each of which carries a 25 percent weighting.

1. Influence on art development: entrants must exert influence over the type, style and shape of contemporary art being produced in the previous 12 months.

2. International influence: as the list is international, entrants must exert influence on a global scale rather than as big fish in small-to-medium ponds.

3. Financial clout: entrants are judged on the extent to which they have shaped, moulded or dominated the art market, whether as artists, dealers or collectors.

4. Activity within the last 12 months: entrants are judged on having actually done something during the period September 2007 to August 2008. It’s not enough to sit on your powerful behind.

Posted in Ai Weiwei, Cai Guoqiang, Chinese, Collectors, Corporate collectors, Indian, Individual, Japanese, Subodh Gupta, Surveys, Takashi Murakami, Trends | Tagged: , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »