State of the Art

The Saffronart Blog

Month: August 2013

‘Shine’ – 200 Years of Human Ingenuity

August 12, 2013

Ipshita Sen of Saffronart explores an exhibit at the Textile Museum of Canada

New York: The Textile Museum of Canada presents its exhibit “Shine” this summer.  Curated by Natalia Nekrassova and Sarah Quinton, this exhibition promises to be a visual delight. It takes its audiences on a cultural journey through the lenses of the varied and highly representative textile industries across Asia.

“For centuries, the light and luster of materials have captivated cultures and societies, artisans and artists, attributing to even simple objects an allure of beauty, luxury and opulence. Throughout the world, reflective metals, mirrors, silver- and gold-wrapped thread, sequins, beads and even insect wings have been skillfully transformed to create some of the most mystifying and coveted cultural and personal expressions.”

The exhibition thus represents human ingenuity over a period of 200 years. Primarily consisting of handmade objects that are celebratory and commonplace, it features an expansive array of textile artists from India, Pakistan, Afghanistan, Syria, South East Asia, China and Japan, reflecting on their respective cultures and contrasting perspectives on the ideologies of style and status.

Objects on display are an elaborate mix of pieces from the museum’s permanent collection, and the works of contemporary artists such as Carmelo Arnoldin, Ghost of a Dream, Rhonda Weppler and Trevor Mahovsky. Viewing works from the past and present in the same space, creates an interesting dialogue between the works, not only cross culturally, but also traditionally. It is thus an interesting juxtaposition, where one can clearly understand the conflicting and complex ideologies of desire, wealth, status and beauty among different kinds of people.

A few highlights of the collection include:

Banjara Tribe blouse

Banjara Tribe blouse

A blouse, tracing back to mid 20th century Karnataka, in South India. The garment is said to have belonged to the Banjara people/tribe, earlier known to be baggage carriers of the Mughal armies in the 17th century. They now live simple lives in rural India. The blouse displays the fantastic workmanship and the rich traditions of the Banajra people in India.

Chola Sindh wedding blouse

Chola Sindh wedding blouse

Another garment on display is this beautiful and intricately designed wedding blouse, dating back to mid 20th century Sindh in Pakistan. The local name given to this piece of garment is “chola”. It is reflective of the rich textile skills and culture of the Lohana community in Sindh. Chola’s are the most spectacular with rich embroidery and ornamental finish. It is to be worn by a bride in addition to trousers and a long veil.

Below we see an intricately designed silk robe, tracing its roots to 19th century China, locally called ‘Jifu’.

Chinese silk robe

Chinese silk robe

The exhibition is accompanied with various informational seminars, lecture sessions and guided tours. In an effort to keep audiences engaged and to provide an opportunity to participate in interesting conversations with the curator and specialists involved.

The Textile Museum of Canada, based in Toronto, is one of the most engaging visual art organizations of its kind. With a private collection of more than 12.000 objects across over 200 countries, it curates captivating exhibitions that are culturally diverse and unique.

“Barbed Floss” at The Guild in Mumbai

August 10, 2013

Elizabeth Prendiville of Saffronart shares a note about the Guild Art Gallery’s latest group show, documenting the cultural ramifications of borders

Barbed Floss, Gallery View. The Guild

Barbed Floss, Gallery View. The Guild.

New York: Currently, the Guild Art Gallery in Mumbai is displaying an engaging group show entitled “Barbed Floss”. This exhibition consists of works by five artists from Bangladesh who have shown in a wide range of international institutions. “Barbed Floss” examines the concepts tied to cultural and literal barriers that cut through different parts of our contemporary world. Most specifically, the fifth largest border worldwide, the barbed wire fence separating Bangladesh and India.

Barbed Floss, Gallery View. The Guild

Barbed Floss, Gallery View. The Guild

The title “Barbed Floss” utilizes the literal and interpretive meanings of these two opposing terms. “Borders on land are made up of barbed wire fencing and high walls, extreme military security, extreme emotional insecurity. The word floss behaves as a thorough cleanser with a fine thread, which removes, cleanses and frees blockages”. Curated by Veeranganakumari Solanki this exhibition discusses the limitations, miscommunications and conflicts that come about in these neighbouring communities simply by the virtue of this physical divide.The Guild has chosen Tayeba Begum Lipi, Mahbubur Rahman, Promotesh Das Pulak, Molla Sagar and Anisuzzaman Sohel for this examination of cultural limitations. Each artist takes a unique approach to this subject matter. Some works reflect literal interpretations, others more theoretical and possible solutions for these issues. Personal, third person and political narratives can be seen through each individual work. This is their first time their work is being shown together in this format.

The Guild specializes in Indian Contemporary Art. Their programming stresses a commitment to artist/curator dialogue and encourages experimentation and conceptual creativity. The Guild was founded in 1997 as most recently has expanded its artist representation to international artists. “Barbed Floss” will run at the Guild Art Gallery through September 30, 2013.

For more information visit The Guild’s website.

Autobiografia: Recluse of History

August 9, 2013

Ipshita Sen of Saffronart previews an exhibition at Gallery Art & Soul in Mumbai

New York: The exhibition, Autobiografia: Recluse of History, is an intriguing group show of artists from different eras. Simplistic and powerful, it stimulates one’s historical chord through classic drawings of soldiers during World War I, with titles such as ‘le commencement de la peur’ / ‘the beginning of fear’ made by artist Jean Louis-Forainto, striking drawings of the town of Lodz by the cubist artist Felicia Pacanowska, a survivor of World War II and the holocaust.

Additionally, the exhibition features works by artists such as Prabhakar Pachpute, depicting open cast mines in India and photographs and scriptures of a theater founded by artist Amol Patil’s father for the Bombay mill workers.

The exhibition is a sneak peek into history, portraying several autobiographies which span an ambitious timeline of significant historical events and offer varied nuances of their respective periods of time. The visitor is thus exposed to several time capsules simultaneously.

A self portrait by Felicia Pacanowska

A self portrait by Felicia Pacanowska

Artist Felicia Pacanowska was a Cubist artist born and raised in the industrial town of Lodz. Her parents were artists too, and part of the large Jewish population in Lodz. The city became an important hub for the Nazi’s occupation owing to its industrial attributes. The Lodz ghetto, the second largest after the Warsaw ghetto, was built for Jews and Romans in German ruled Poland. The ghetto served as an industrial center for the Jews, a gathering point and also as a manufacturing center for German army supplies. Very few Jews survived the dreadful holocaust. Felicia Pacanowska lost her family in the holocaust leaving her depressed. Until the end of the war, she lived in fear and in brutal conditions. Most of her works of art and tools were lost. She, however, continued her diligent work, which eventually staved off her depression. Pacanowska’s significant body of works displayed at the exhibition mainly comprises portraits in studied, clean, scalpel-succinct pencil strokes.

Shernavaz Colah, another artist showcased in this exhibit, has an intriguing series of drawings titled “it-so-ur-sco-pop-hob-ia”, an anxiety instigated whilst being stared at by other people. The exhibition also includes reproductions of works of art by reclusive Sri Lankan artist Justin Daraniyagala, who Shernavaz Colah had been researching.

Justin Daraniyagala, a cubist artist, part of the Sri Lankan avant-garde 43 Group, preceded several of his contemporaries in India in interpreting cubism through his own aesthetic eye. John Berger, a distinguished British writer and art critic, reviewed Justin Daraniyagala and his group and spoke of their outstanding practices. He noted: “…the story of the [‘43] Group’s attempt to achieve a synthesis between the work done in Paris by Picasso and Matisse and the ancient tradition of Sigiriya (frescoes)  which yet took into account the emerging power and equality of Asia in the contemporary work could be discovered through a careful, chronological study of their work.”

The exhibition also includes the works of Zarina Hashmi, Yogesh Barve, Poonam Jain, Akbar Padamsee, Salvador Dali, Prabhakar Barwe, F.N. Souza, Nikhil Raunak, George Braque, A.A. Raiba, Sachin Bonde, Francisco Goya, Mangesh Kapse and Carla Montenegro, with reproductions by M.F. Husain, Pablo Picasso and Fernando Botero.

The exhibition is currently on view at Gallery Art & Soul in Mumbai, India.

Maximum Bose

August 6, 2013

Ipshita Sen of Saffronart shares a note on Bose Krishnamachari’s exhibition “Maximum Bose”

New York: The co-founder of India’s first Biennale and the creator of the famous ‘Maximum Nano’- India’s first art car (which was auctioned at Saffronart on 29-30 July for over Rs 13 lakhs), renowned artist Bose Krishnamachari is in the spotlight with a solo show, after a gap of three years. The exhibition titled ‘Maximum Bose’ is on view at Gallery 7, Mumbai, and incorporates a simple output of 12 exemplary paintings by the artist, who explored the parameters of a circular frame for the very first time.

Maximum Nano, Bose Krishnamachari. Image Credit: http://www.saffronart.com/customauctions/PostWork.aspx?l=8603

Maximum Nano, Bose Krishnamachari. Image Credit: http://www.saffronart.com/customauctions/PostWork.aspx?l=8603

“I believe that colors can play a magical role and transform a body. They can sculpt something that is formless or abstract. They share positive vibes and represent maximum freshness, happiness, depth, layers and texture,” says the artist.

Bose Krishnamachari’s oeuvre radiates a kind of abstract dynamism that is electric.  His powerful use of rich opaque color, each shade vying for attention, whilst softly merging into one another, creates a surreal almost mesmerizing poetic language, which keeps one hooked.

He talks about the inspirations behind his bold usage of color “I refine my color to brightness. I have learnt this usage from the alternately subdued and lavish color codes of Indian ceremonies and ritual performances; the costumes, the gestures of enactment…”

After India’s first participation in the prestigious Venice Biennale in 2012, artists Bose Krishnamachari and Riyas Komu, having received support from the Government, initiated India’s first Biennale in the historically rich city of Kochi, Kerala. It kicked off on 12 December, 2012 (12/12/12) and carried on for 2 months. Featuring more than 90 artists, the art works not only adorned the white washed walls of galleries and warehouses, but also transformed public lots into spaces displaying art across different media and genres. In addition to several local Indian artists, the participating artists also came from the UAE, Afghanistan, UK, Australia and South Korea. The Biennale is thus an excellent platform for the contemporary arts in India for artists both locally and internationally, putting India on the map of art Biennales and dubbing it notable for a flourishing art market.

Bose Krishnamachari is an established and internationally acclaimed contemporary Indian artist from Kerala, India. He received his BFA from the Sir J.J. School of Art in Mumbai, followed by an MFA from Goldsmiths College, University of London. In addition to being an artist, Krishnamachari also curates exhibitions and art and design projects. He is passionate about supporting and promoting emerging contemporary Indian artists. He currently lives and works in Mumbai, India.

For more information about the exhibition visit the Gallery 7 website.

Additionally, three works by the artist are part of the upcoming StoryLTD Absolute Art Auction, powered by Saffronart, to be held on 7-8 August, 2013.

Acclaimed Addition to the Howard Hodgkin Collection at the National Museum Cardiff

August 5, 2013

Elizabeth Prendiville of Saffronart shares a note on the Howard Hodgkin Collection exhibition at the National Museum Cardiff in Wales

Sultan Muhammad Adil Shah and Ikhlas Khan Riding an Elephant, Bijapur, c.1645, From the Colelction of Howard Hodgkin

Sultan Muhammad Adil Shah and Ikhlas Khan Riding an Elephant, Bijapur, c.1645, From the Colelction of Howard Hodgkin. Image Credit: http://www.museumwales.ac.uk/en/whatson/?event_id=6743

New York: The private collection of artist Howard Hodgkin will be featured in a stimulating exhibition displaying his diverse range of Indian works. Although the collection has received high praise in a number of institutions this particular exhibition will show a more complete vision of the collection as a whole.

“Visions of Mughal India” will feature a brand new addition, which has never been displayed before. Prior to this exhibition at the National Museum Cardiff, the Hodgkin collection was missing an essential piece. One of the sumptuous, large temple hangings in the collection was part of a pair of cloth hangings. However, the missing pair was not found until just recently. It displays a natural scene of four young maidens dancing and has the same beautiful quality of the one previously acquired by the Hodgkin collection. This will be the first time the pair is shown together as they were originally intended.

A Lady Singing, Kishangarh, c.1740, From the Collection of Howard Hodgkin

A Lady Singing, Kishangarh, c.1740, From the Collection of Howard Hodgkin. Image Credit: http://www.museumwales.ac.uk/en/whatson/?event_id=6743

Debuting for the first time in Wales, the Howard Hodgkin collection consists of unusually high quality works. Because it is a personal collection of an artist, each work expresses flawless craftsmanship and technical quality and it is known as one of the most established private collections of Indian art. The newly acquired temple tapestry is a fine example of how much of the collection displays natural and true to life scenes of India. This is motivated by the artist’s love of both India’s urban and natural landscape.

Sultan Ali Adil Shah Hunting a Tiger, Bijapur, Deccan, c.1660

Sultan Ali Adil Shah Hunting a Tiger, Bijapur, Deccan, c.1660. Image Credit: http://www.artdaily.org/index.asp?int_sec=11&int_new=64088

The Howard Hodgkin collection as a whole encompasses many different nuances of Indian court painting, specifically the Mughal period circa 1550-1850. The works in the collection range in time period as well as design motif. Some represent narratives and characters that illustrate the scenery of everyday life in India, while others rely on a more abstract design motif. Through these contrasts in artistic intention, the consistent thread throughout the entire Howard Hodgkin collection is it’s attention to detail and quality. This is truly a private collection loved and curated by an artist in his own right.

The exhibition will be on until November 3, 2013, and several collateral events will be held at the museum to accompany it. For more information click here.