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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Collaborative ventures between galleries and institutions have become an inherent function of the art world. While some gallerists have maintained an ongoing dialogue in this field since the gallery’s establishment, many institutions and galleries are entering this shared space.
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The art bubble has burst and does not look as though it will reappear anytime soon. The shallow, empty, pretentious art that was produced during the boom period has disappeared as have its purveyors
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February 26, 2080: Struldbruggian and valetudinarian have swiftly become the two adjectives most readily associated with contemporary visual art as it were. Although the mandarin-keepers of this rarefied atmosphere have adopted several well-intentioned, albeit spurious, strategies to carry out the much-needed resuscitation, thus far no approach has hit the ground running.
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One of the primary responsibilities of a gallery is to position the artist and its work outside the commercial market. It’s the relationship with non-market entities such as curators, museums, writers and critics which is essential.
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The first time when I visited Bombay as an artist I saw every nook and corner has an art gallery and was impressed till I was told; “Idiot all are not art galleries! All kinds of exotic shops are also called ‘Gallery’”.
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Bangalore is now seen as the third major art centre in India along with New Delhi and Mumbai: a city with scarcely an art market, or long history of professional modern art practice and few galleries. The Phantom Lady looks at the vibrant alternative art scene in the city...
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Galleries are the places where a work of art is presented in a supposedly neutral context for aesthetic appreciation in tranquility. In this ideal/idealistic definition what we fail to recognize is the ideological role of the galleries and their premises that comes to play a major role in the production of meanings, values and paradigms of monetary exchanges.
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