Raqs Media Collective: The Primary Education of the Autodidact

Medha Kapur of Saffronart on RAQS Media Collective’s window installation at Audain Gallery, Vancouver (June 1 – September 4, 2012)

Jeebesh Bagchi, Monica Narula, Shuddhabrata SenguptaVANCOUVER, BC: Raqs Media Collective, a collaborative project crossing and combing different media, comprising Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta, has deeply impacted contemporary culture in India and around the world. They have been commissioned by Audain Gallery, Vancouver, to present a site-specific photographic work in the large windows outside of the gallery on Hastings Street. Titled The Primary Education of the Autodidact, the work explores knowledge, power, utterance, and silence. The work directly addresses the notion and problematic of the autodidact, and also attests to the autodidacticism of the collective’s own diverse body of work and working methods. This is part of Canada’s Indian Summer Festival.

Raqs Media Collective, The Primary Education of the Autodidact

Raqs Media Collective has consistently pushed boundaries and broadened awareness about the contradictions between knowing and knowledge, between production and creativity, and between exploitation and use. The collective works as artists, filmmakers, writers, curators, editors and event organizers, restlessly exploring new forms and methods of production while preserving a consistent rigor.

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NIVIM Goa: A Journey from the Drawing Board to Reality

Shivajirao Gaekwar shares an update about NIVIM Goa

New York: We are delighted to post this update about NIVIM, one of our newest properties for sale in Goa through Prime Properties. The house is currently in its final phase of construction and scheduled to complete in August, 2012.

NIVIM Goa is the labour of love of Anjali Mangalgiri, a New York returned architect who moved to Goa with the sole purpose to build this house. The house is a culmination of her vision to bring architectural excellence and sustainable design to mainstream construction in India.

NIVIM Goa is built in contemporary tropical style taking inspiration from notable architects in the subcontinent such as Geoffery Bawa, Laurie Baker, Kerry Hill, architects in Auroville and Goa’s own Gerard da Cunha and Dean D’Cruz. The house is projected to be the first green rated building in Goa and even has its own blog.

Images of selected Geoffery Bawa projects

Anjali describes the concept of the house as follows, “For a house to be built in Goa, it must allow the user to seamlessly reconnect with nature while making every effort to preserve the reasons that make Goa special….its untouched green environs, mostly unpolluted waters, clean air, abundant biodiversity… I can go on and on…” She goes on to explain that sustainability and green design actually offer the most exclusive luxury today. It is a concept that is well understood, accepted and desired most among worldly thinkers and innovators. In addition, green buildings are more expensive to build and require a force of smart people behind them making them very exclusive.  (Read more about the concept of the house, http://www.newyorkgoadiaries.com/2011/06/design-concept.html)

Selected views from NIVIM Goa under construction showing the two main trees at the center of the site that now form an integral part of the house design

NIVIM Goa sits on a 1025 square meter site on a hill in a sleepy village in Goa. Before starting construction, the site had 14 fully mature trees. The design of the house incorporates all the existing trees that include two jackfruit trees, one mango tree, two tamarind trees and one telful tree. Two trees in particular were located bang in the center of the site and look like they had been there for 100’s of years. One of them rises up almost 15 meters, or 5 stories. Anjali says, “These trees have been here way longer than we have, we could not even conceive of removing them…they are instead now an integral part of the house design and lend it a special character that is hard to replicate. Plus, trees are our most basic lifeline, they provide shade, hold the soil together to prevent erosion, require almost no additional irrigation…provide fresh produce and a home for the lovely birds and squirrels.” She adds, “The new owners of the house can even consider building a treehouse or a machan to further enjoy these large trees based on their specific requirements…” The new landscape design of the house adds other native fruiting and flowering plants to the site including chikoo, fig, kokum, champa, etc.

Anjali was completely convinced that the house in Goa should not resemble any apartment or house in the city. She laughs while saying, “I do not understand why anyone would build a home in Goa to look like their tight homes in the city, when they are coming to Goa to get away from it all….” She firmly believes that there is a distinct vocabulary for building homes in the countryside. It starts by respecting nature, ensuring minimum impact on site and surroundings and then continues in design of spaces which she says should be open, spacious, well lit and airy and finally she stresses that the country design vocabulary is distinct when it comes to choosing the materials for construction and final finishes. She advocates the use of natural materials as much as possible. She also advises to learn from the traditional building practices and typologies as they have developed after years of trial and error to resolve the local issues resulting from weather patterns, readily available materials and local labour skills. Another advantage of building with these principles is that it provides a great starting point for green building design.

Sketches showing the front of the house and detail of a guest bedroom with photos of the final built product

As a result, the house is designed such that two walls in each room  can completely open to make the rooms a part of the surrounding landscape. Each bedroom is designed like a pavilion in the garden with its own private verandahs and green space as well as large bathrooms that can only be built in the countryside with their own dedicated open space and open baths. The remainder of the site is designed with overlapping courtyards and gardens.

A special feature of the house is a unique pavilion overlooking the pool that is designed to be a self contained unit with a bathroom, bedroom and a covered sit-out. “This space is specifically designed to morph based on the requirements of the user, time of day and year. The pavilion can act as a pool pavilion during the daytime, a movie screening hall/ game room in the evening, party central while entertaining, a quiet creative studio, as well as a separate cottage for guests maybe when the owners of the house are not themselves in Goa using the main house.” Anjali compares enjoying a second home in Goa like being in the Hamptons for the summer in New York. She compares her experience and says, “In the Hamptons, one typically uses their second home to entertain family and friends, hence we have designed each bedroom suite and the pavilion building to have its own privacy and comfort and the central pool and deck space for everyone to come together and enjoy lazy days and evenings by the pool…”

NIVIM Goa is built with tremendous love and that is evident in every small detail in the house. Anjali can talk at length about the big design concepts to smallest details like the choice of custom made wash basins and brass inlaid floors. We hope to share some of this journey with you. The following is a brief timeline of the house. It follows Anjali’s frequent updates on the project blog that outline the thought in design, specific construction details, green elements and challenges in implementation.

View of the entrance to the main living area

Interior view of the main living area

Interior view of the master bedroom

Read more about the concept of the house newyork goa diaries!

Dinesh Vazirani on a Panel about Contemporary South Asian Art

Elisabetta Marabotto of Saffronart reports about the talk, “New Directions in Contemporary South Asian Art”

From left: Jeffrey Boloten, Erik Wigertz, Dinesh Vazirani, Arianne Levene and Idris Khan

London: On June 6, 2012, the Arts Club in London hosted a panel discussion on contemporary South Asian art featuring Idris Khan, a contemporary British artist with South Asian roots, whose body of work explores concepts such as authorship and time; Arianne Levene, an art advisor for contemporary South Asian, Middle Eastern and Chinese art, and founder of New Art World Ltd.; Dinesh Vazirani, the co-founder of Saffronart; Erik Wigertz,  a well known Swedish collector based in Russia with an interest in South Asian art; and Jeffrey Boloten, the moderator of the panel and co-founder and managing director of ArtInsight.

The aim of the discussion was to examine the new directions that South Asian art is taking through the different perspectives and experiences of the guests on the panel.

In the initial part of the talk Dinesh Vazirani examined the reasons that prompted him and Minal Vazirani (co-founder Saffronart and his wife) to found Saffronart in 2000.  On moving back to India in the mid 1990s, Dinesh and Minal felt there was no access, transparency nor benchmarks, especially in terms of pricing, in the Indian art market and decided to establish Saffronart to fill these gaps.

Talking about the trends relating to infrastructure in the Indian art world, Dinesh argued that after an initial lack of infrastructure and support, things were slowly changing. In fact, private institutions like the Kiran Nadar Museum of Art which opened last year and the Devi Art Foundation, both located in Delhi, host regular exhibitions of modern and contemporary South Asian art and compensate for the lack of quality public institutions in the country. Arianne added that new museums and galleries, such as the one founded by Rajshree Pathy , are emerging in smaller cities like Coimbatore, spreading awareness about the arts beyond the metropolises.

The India Art Fair was another hot topic at the Arts Club, but the panel unanimously agreed that the fair had a great impact on the Indian art market, bringing together international collectors and galleries in one place, and that it also gave the opportunity to Indian collectors to meet foreign galleries and artists.

Also discussed was the fact that over the last few years, there has been a definite development and growth of an international market for Indian art. Many Indian galleries have opened branches in Europe or America, well known auction houses included Indian art in their Contemporary and Post-war art sales, and Indian artists featured in important international art fairs such as Frieze and Art Basel. Moreover, Erik Wigertz just hosted an exhibition of his collection in his native Sweden, which received rave reviews and great interest. However, a lot of the ground work for this growth was established by galleries and auction houses like Saffronart, which managed to reach non-resident Indians in various countries earlier, and helped the market for Indian art spread to all parts of the globe. Recently, however, the large established group of collectors, both individual and institutions, based in India has grown in importance and is dominating the market.

At the end of the discussion the panel was asked to make a prediction about future trends in the South Asian art world. Dinesh felt there will be a return to tradition and Indian heritage, so probably antiquities will be the next market to look at, while Arianne and Erik thought Indonesian art will be the next trend, and Idris jokingly added that he would be the most sought after artist in the coming years. So Dinesh as a joke suggested we should all buy Idris’s works before his prices reaches this peak. I guess we will have to wait to see who is right!

A very interesting Q&A session concluded the talk. One of the last questions was directed at  Erik, who was asked whether the recession and the falling prices of contemporary art ever dissuaded him from buying art. The collector promptly answered that he believes art should be bought following our personal passion and not market trends.

Audience at The Arts Club

In Memoriam: Maqbool Fida Husain and his Writings

Sneha Sikand of Saffronart on a programme organised to commemorate the first death anniversary of the artist

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New Delhi: To mark one year since his demise, friends and well wishers gathered at the India International Centre (IIC) for a rather special programme. Celebrated world over for his artworks, only a handful of people actually knew of his interest in poetry and prose. Harf va Naksh, a diary maintained by Husain contains a collection of unsent letters, abstract drawings, and poetry in Urdu, Hindi and English. Found in the private collection of author Krishna Baldev Vaid, it was gifted to him over forty years ago by Husain himself.

Organised by the Raza Foundation, excerpts from the late artist’s diary were read out by his contemporaries and friends, Syed Haider Raza and Krishen Khanna among others. Read more about the event here.

Exhibition: History is Written by Garment Exporters

Medha Kapur from Saffronart on an exhibit of Sarnath Banerjee’s works spanning the period 2008 – 11. 

Sarnath BanerjeeGlasgow, UK: Sarnath Banerjee ,an Indian Graphic novelist,artist, and film maker presents an overview of his work including both drawings and films at the Centre for Contemporary Arts in Glasgow, from 16 June – 28 July 2012. He is amongst those writers who know their craft & through his works reveals the daily tensions of contemporary India, from the local events of a city neighbourhood, to the pressures of its global economic rise.  He has published three major books – Corridor (2004), The Barn Owl’s Wondrous Capers (2007) and The Harappa Files (2011).

corridor (2004)- Sarnath Banerjee The Barn Owl's Wondrous Capers- Sarnath Banerjee The Harappa Files -Sarnath Banerjee

This exhibition brings together works spanning the period 2008 – 11, including several key sequences from Banerjee’s most recent book, The Harappa Files.  It is an unusual piece of work and takes a look at the cracks in India of the 80’s. Check out some Excerpts from the book.

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