Over the past decade, Mumbai-based artist Jitish Kallat has risen to international stardom as one of the beacons of Indian contemporary art. Curator Sharmistha Ray engages the artist in a conversation fine-tuned to key developments in his artistic practice, his most significant works and how they have shaped him as a conceptual artist.
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An expert in modern and contemporary Indian art, Amrita Jhaveri, India’s first representative at Christies, author of 101: A Guide to 101 Modern and Contemporary Indian Artists and more recently consultant to Frieze Art Fair, London, terms her journey as an art collector ‘a moving feast’.
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This moment recognizably is time when a pelt of enthusiasm and commitment to create a self reliant as well as a sustainable economic model for the arts, surfaces in extended bounds within the realm of artistic praxis.
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It has been a momentous journey for Indian art from the by lanes of Hauz Khas village to swanky locations in luxury malls in the cities which dot the cultural landscapes of the country.
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I have, for several years, had excellent relations with galleries across the country. When I started collecting, blissfully unaware of who was who, I was guided by the Sarkar of CIMA and by Geetha Mehra and Usha Gawde at Sakshi. All four wonderful women to whom I am forever indebted.
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In 2007, riding the wave of the Indian art market, Mithu Sen, a young Santiniketan trained artist advertised a ‘Summer Dhamaka’. Select hundred invitees logged onto www.mithusen.com that redirected them to ‘Free Mithu’.
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What is fascinating about Europe is Europe’s lack of feeling a historical connection to the rest of the world, Okwui Enwezor told one of Holland’s biggest dailies in an interview in 2008.
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One of the most characteristic aspect of the current Indian gallery scene is the mixture of the notions of ‘commercial’ and ‘non-commercial’. Whereas in Europe these both categories are seen as fairly strictly separated from each other.
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I’m not sure if it was the multi-storied interiors of the space or the fluorescent red and yellow lights of its sign, but there was something very special about going to Tower Records for a teenager growing up in the Tri-state area around New York.
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In 1976 a group of three artists and one art critic co-wrote a seminal text arguing the virtual non-existence of a Brazilian art market was not to be celebrated as a sign of artistic freedom.
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