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Posts Tagged ‘Ranbir Kaleka’

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 »

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 »

New nonprofit museum of Indian art groundbreaking first for India – Christies, New York Times

Posted by artradar on September 20, 2008


Anupam Poddar and his mother Lekha

Anupam Poddar and his mother Lekha

MUSEUM INDIAN ART NEW MEDIA EXHIBITION to 30 September 2008

Spread over two floors and 7,500 square feet in an office tower in the Gurgaon suburb of New Delhi , the Devi Art Foundation, as it is called opened in August 2008 with an inaugural show of photography and video called “Still Moving Image.” It features the work of 25 artists, a fraction of the roughly 2,000 contemporary pieces that make up the collection of 34 year old hotel magnate and leading art collector Anupam Poddar, along with an estimated 5,000 folk and tribal pieces, which are his mother’s passion.Devi is India’s first noncommercial, nonprofit exhibition space for contemporary art from India and the subcontinent. Yamini Mehta, director of modern and contemporary Indian art at Christie’s auction house in London, described it as “a truly groundbreaking first for India.”

The New York Times says “the birth of the Devi Art Foundation signals a sort of turning point in the Indian art scene, in that it opens up a private family trove to the public and is devoted entirely to contemporary art.””The Poddars are known in the art world here for their daring eye, for seeking out artists before they start fetching high prices or become recognizable names at fashionable Delhi dinner parties. Mr. Poddar scouts art college graduations for new talent, though it must be said that many of the artists he sought out years ago, like Subodh Gupta and Sudarshan Shetty, are now among the most recognizable names at those fashionable parties.”

The post-Indian-independence generation of artists known as the Progressives collected by his mother did not resonate with the son. He gravitated toward artists of his own generation. “Their vision of India was similar to mine,” he said. “It was being part of this – I hate this word – global world. It wasn’t just India. It wasn’t so isolated. They were working with sculpture, installation, with new media.”His first acquisition, in 1999, was a life-size pink fiberglass cow by Mr. Gupta. “It was quintessentially Indian but modern in its essence,” he said. “That’s what spoke to me.”

The inaugural exhibition of contemporary photography and video brings together the works of Aastha Chauhan, Baptist Coelho, Atul Bhalla, Avinash Veeraghavan, Bharti Kher, Kiran Subbaiah, Mithu Sen, Nalini Malani, Navin Thomas, Pushpamala N., Ram Rahman, Rameshwar Broota, Ranbir Kaleka, Ravi Agarwal, Sheba Chhachhi, Shilpa Gupta, Sonia Khurana, Sudarshan Shetty, Surekha, Susanta Mandal, Tejal Shah, Tushar Joag, Valay Shende, Varsha Nair and Vivan Sundaram.

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Posted in Anupam Poddar, Art spaces, Collectors, India, Indian, New Media, Nonprofit, Photography, Video | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

New contemporary art from India and Thailand in Bangkok to September 27 2008

Posted by artradar on August 26, 2008


Vidya Kamat Birthmark Series

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

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

Navin Rawanchaikul Reception Room Video

 

 

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Posted in Gallery shows, Identity art, Indian, Thai, Vehicles | Tagged: , , , , , , , , , , , , , , , , , , , | Leave a Comment »