At the Kochi-Muziris Biennale 2014, Saffronart is supporting acclaimed artist Manisha Gera Baswani in her project, Artist Through the Lens, sponsored by the Kiran Nadar Museum of Art. Rashmi Rajgopal speaks with Manisha on her project and its evolution.
On 13 December, Fort Kochi brimmed with activity as participants at the Kochi-Muziris Biennale 2014 scuttled about, preparing for a long but exciting second day. Curated by Jitish Kallat, the second edition of the highly-acclaimed event is titled “Whorled Explorations”. It had kick-started the previous day, with chief minister Oommen Chandy inaugurating the event.
Artists from around the world have rallied to Kochi to display their talents to discerning and enthusiastic spectators, who will flock to the centuries-old port city till the end of the biennale: 29 March 2015. For artist Manisha Gera Baswani, acclaimed for her paintings and her photographs, it had been months since she began preparing for this moment. Her much anticipated project, Artist Through the Lens, had just opened at Rose Bungalow, Fort Kochi. Speaking to Manisha feels like you’re speaking to an old friend: she is warm, open and very honest about her work and herself. Over the phone, juggling between her kids and speaking about the project, she said, “It has been a lot of work. Since the past two weeks, I have been busy installing the project.”
The title, Artist Through the Lens, is self-evident: the seeds for her project were people from the art community she had known and interacted with for decades. As she puts it, “The world knows the artist primarily by his work. However, the intimacy with the work grows once the ‘person’ in the artist becomes known. Somewhere, that person ‘becomes’ the artist, ensconced in a private space and immersed in a personal expression… I decided to pick up the camera along with my paintbrush nine years ago, finding the lens suited to navigating the artistic world.” Artist Through the Lens began with exploring artists for the people they really were. It has since grown to include other members of the art world: gallerists, art critics, curators, and collectors: “Images of the art world,” as Manisha says.
A. Ramachandran, Manisha’s guru and mentor, with his wife Chameli. Says Manisha, “Introspective scrutiny and deep understanding. This is what Sir and Chameli aunty have given me for the thirty years that I have known them.”
In a casual Q&A session, she spoke openly about her project, her aspirations for it, and how she came to be involved in the biennale.
Your project was showcased at the India Art Fair in 2012 and earlier this year at Art Chennai 2014. Did you feel it evoked the response you were hoping for?
I was not sure what response to anticipate as I was very focussed on the set up. But once I caught my breath, I saw people glued to the images, often returning and sometimes paying a tribute with moist eyes. I could not ask for more.
Were you approached by the organisers of the Kochi Biennale to showcase your project? Was this based on previous responses to your project?
It was a conversation with Riyas Komu at the India Art Fair last year which translated into showing this project at Kochi. Given the audience that visits the biennale, it would be a good venue to share this photographic panorama of the Indian art world with an audience beyond the Indian art community.
“I photographed Anjum at her solo exhibition at Vadehra Art Gallery in 2009. She makes a genie-like appearance from the ‘magic cup’. The background enhances her smoky silhouette, like an emerging apparition.”
Being both a painter and a photographer, do you feel your approach to photography is different from art?
I think of myself as a spontaneous artist: I don’t plan or pre-meditate my paintings. The act of painting still allows a flexibility to pause and calibrate once the process has started.
Photography, on the other hand, requires seizing a moment that feels right. Over time, reviewing my own work has made me more prepared to recognise those moments. For example, I now also scan for shadows or reflections that compose themselves into a ready-to-click frame which I can almost see ahead of time.
What made you decide that you would like to document the art world through these ‘behind-the-scenes’ photographs?
It all started with me consciously capturing time with my teacher, Mr. A. Ramachandran, and that was essentially for myself. While we spoke about how photos of senior artists from their younger days were rare, the importance of what I was doing dawned on me. Since then, the project has acquired a larger significance and purpose for me.
How did this idea strike you? Did you first experiment with it and develop it into what it is now as you progressed?
When I look back, I recall that my camera accompanied me everywhere. It went with me to all art openings, soirees and camps for as long as I can remember. I felt more and more driven to capture ‘behind the scenes’ images of the art world. By the time I felt ready to finally show select images from my project, it was already 8 years old. I was part of a project called Manthan, a platform centred around showcasing art and design practices. It was daunting to showcase in front of a discerning audience, several of whom well-known photographers. As it turned out, they were the most enthusiastic of viewers and motivated me to move forward even more confidently.
“I am reminded of the Wizard of Oz who puppeteered fantastic illusions – here, Bharti Kher keeps a watchful eye on the lifeless, yet lively, mannequin.”
How was your idea received by the people you have photographed? How willing or reluctant were they to allow this ‘entry’ into their lives as artists, gallerists, collectors, critics, and as persons?
Since I am a practising artist myself, more often than not my entry into their spaces was that of welcome and openness. I have spent sometimes hours in an artist’s studio quietly capturing them in their surroundings. These sessions have been interspaced with wonderful conversations over lunch and tea.
Some artist friends were shy and needed cajoling. Some others may have found me a bit intrusive but they indulged me nevertheless. It all changed for everyone when Artist Through the Lens was showcased at the Indian Art Fair by Devi Art Foundation in 2012.
I was in parallel contributing to the quarterly art magazine ‘Take on Art’ via my photo essay column titled ‘Fly on the Wall’ which is now in its 14th edition. This brought another dimension for me as I was now also adding prose and poetry to the visual. This is a good example of the appreciation and support, extended by gallerist and publisher Bhavna Kakar.
As you photographed them, did anything surprise you about them or the way they worked? Any revelations?
Entering artist studios has been one of the most humbling experiences for me. These are borderless and often timeless spaces that have helped me widen my own perspective. Seeing their work process, talking to them about their techniques, and conversations about shared passions have all been enriching experiences I am grateful for.
If there was a revelation – it would be the obvious one of realising that if you are still painting, you are still learning…
“I enjoy the pose Probir Gupta strikes – like a conjurer making phantoms appear on the canvas in the background. His smile almost dares the viewer to catch a glimpse of the illusion.”
What were your thoughts while deciding upon the angling and the composition of each shot?
I am not formally trained and not particularly disciplined about reading manuals. I simply take the camera and wait for the moment to come, and come they do.
You mention a closeness with the artists you have photographed, and this is quite apparent in the candidness of your photographs. Yet with some, there appears to be a distance – we see back views, we see the subject through slits and peepholes, we see their shadows and reflections, or we see them partially obstructed by their work. The reverence you bear for these artists is evident, but there appears to be a distance between the viewer and the subject. How would this influence perceptions about the subject?
Often I find an opportunity to create a composition which brings together the artist and their work, or their philosophy expressed via the environment. When I capture such a moment, I may zoom out the subject in perspective, but my closeness to the person remains unchanged. Examples of N. Pushpamala shot through the eye of a mask or Nataraj Sharma standing next to an industrial crane – both need the expanse which may foreshorten their image but amplify the artist in context.
Nataraj Sharma installing his work at Kala Ghoda in 2009
“Valsan Kolleri mentally navigates a path through the maze his sculpture creates. To me, it’s an allusion to an immortal contemplating on the pot that has spilt the elixir of life.”
“I leapt at this composition as Ranbir Kaleka’s signature headgear seemed to appear like a rising sun over the horizon. The drowning fan seems to look up at him, imploring for a rescue.”
“Nilima Sheikh makes for a forlorn image: a traveller ready to leave, a writer who takes one last look at the manuscript. Somewhere, she is enveloped in the taperstry of her works, merging into all she had to say…”
You’ve mentioned that this project is ongoing. You’ve already included gallerists, critics and collectors along with artists. Do you see a possibility of expanding this further?
Yes, the project started with photographing the artists in their creative spaces. The presence of the gallerist while the artist was installing the show, to the entry of the curator or the art collector turned this project to embrace a wider art community. It grew organically and I don’t want to impose any pre-conceived restrictions to image capturing. I know that I may thematically edit it when needed but the magic is in the expansion itself.
You will find that even where artists are concerned, besides traversing generations, it has transgressed boundaries and is beginning to become South Asian rather than just Indian.
As the biennale continues, we will bring more snippets from our ongoing conversation with Manisha. Keep watching this space for more.
Josheen Oberoi shares a recording of a talk between Shumita and Arani Bose and Dinesh Vazirani
New York:Saffronart hosted a preview for their forthcoming Autumn Art Auction, last Saturday in New York. The auction, which will take place on September 24th-25th, includes Property from the Collection of Shumita and Arani Bose, the co-founders of Bose Pacia and features seminal works of contemporary artists that define an epoch in South Asian artistic narratives. Established in 1994, Bose Pacia was the first gallery in the West specializing exclusively in contemporary South Asian art. Over the past two decades, Bose Pacia has held over 80 exhibitions and is internationally regarded for promoting the South Asian avant-garde.
The evening began with a conversation between the co-founder of Saffronart, Dinesh Vazirani and Shumita and Arani Bose that discussed their collecting practice and it’s inspirations, the changing landscape of South Asian art and the way forward with their +91 Foundation. The audio and transcript of the talk follows.
Date: September 14th, 2013
Location: New York City
Dinesh Vazirani: Thank you all for coming. This is an informal discussion with Shumita and Arani, its great to have them here. Let me introduce you, Arani and Shumita. Dr. Arani Bose and Mrs. Shumita Bose, co-founders of Bose Pacia. Established in 1994, Bose Pacia was the first gallery in the West specializing exclusively in contemporary South Asian art, over the past two decades Bose Pacia has held over 80 exhibitions and it is internationally regarded for promoting the South Asian avant-garde. The gallery fosters an active discourse between the contemporary South Asian arts and the international art community by featuring exhibitions that can contextualize contemporary art from this geographic region within its rich artist traditions and current social tensions. The Shumita and Arani Bose collection, you’re just seeing a part of it here, is one of the largest and most comprehensive South Asian contemporary collections in the US. With strands both in the pre independence and post-colonial spheres the collection can be viewed as a survey of the most pivotal artistic developments in the Indian subcontinent. With outstanding examples of visual art ranging from photography, painting and new media to sculpture and installation the collection represents dynamic strands of artistic practice and discourse. So welcome, Arani and Shumita.
Arani Bose: Thank you.
Dinesh Vazirani: I want to go back a long way. What got you interested in art?
Arani Bose: We were always kind of interested in art in the theoretical sense that we would go to galleries and museums and then I had a particular connection to the art world in India particularly because of my father and my uncle who was Arun Bose. He was a product of the Government Art College in Calcutta and for 30 years he was the head of the graphics department at Lehman College and Pratt institute before that. There was a certain tendency to be interested in art from a family stand point. Then in the early 90’s after Shumita and I were married…
Dinesh Vazirani: And what year was that, which you got married?
Shumita Bose: Oh boy, that was a long time. 1989.
AB: So we went to India and we didn’t want to spend all our time at the homes of relatives so we asked my uncle in New York, “give us something to do when were there” He said “well you can visit these galleries in all of these cities” so we said “Ok great” took down the names, so we visited. We took pictures of the work that we saw there, there was quite a lot of compelling stuff there and when we came back we were hanging out with our best friends Steve, who’s right there.
DV: Hi Steve!
AB: He asked a question when seeing our photos from our trip, “this particular artist, I’m sure I could get this artist here, I’d love to get this painting; I wonder who sells this work? Or represents this artist”. So that lead to an investigation of how to get that work and as you know that was impossible in 1993 to find. There was no representation of Indian or South Asian artists in New York or anywhere outside of India for that matter. And that was true at the gallery level, at the museum level and I came to realize that when we started to investigate and look for that. That started the whole process.
DV: Shumita, what about you? Was it only Arani?
DV: You know husband and wife. Both my wife and I are at the same business, Saffronart. How do you reconcile your differences in taste and the way you look at art? Are there arguments or is it always big hugs at the end of it?
SB: I’d say in that taste we have a similar aesthetic. Also with a lot of these were personal relationships with artists aside from the aesthetic sense of the work. A lot of them are friends of ours and you get interested in the thoughts and ideas it often goes beyond just pictures that you want. So both of us along with Steve felt that we wanted to support these artists. A lot of times we would purchase things that we hadn’t even seen, but conceptually it seemed interesting or we just believed in their work.
AB: A lot of people ask how I handle a work, of this scale in my home. Frankly, we often don’t. There are storage facilities for that. Then people ask why would you buy an art work to put in storage? That makes no sense. The answer is really, you’re buying a work because you believe in the vision of the artist and that is what we both agreed on. The artist, the vision and then, the work was in a sense superfluous to that.
DV: Since the opening of the gallery in 1994 how do you think the collector base for modern and contemporary South Asian work has evolved? Especially in the United States?
AB: When we started there was, perhaps, because Steve and I both have a medical connection, many of the collectors were Indian physicians.
DV: That’s interesting
SB: We should say physician.
AB: Yes that’s right. Indian physician.
SB: A very important Indian physician.
AB: It started out as often in a venture, being supported by one angel essentially. We had that angel. That gave us time to explore avenues, other avenues and nurture those relationships with other people and often times they were not United States based people, European collectors. It grew from there. Primarily for many years, it was primarily an Indian or South Asian collecting base and then starting from 2000 it started to broaden into a European and Asian collector base.
DV: If you could just explain to us briefly about how your strategy of collecting art has changed over these years. If I look at the gallery itself you had representation of Souza at one time, then you had contemporary artists, then you had Arpita, so it was a cross over from Modern to Contemporary. Has that influenced the way you have collected art? The interactions with these artists and what had happened over this last decade and a half?
AB: Yes. It definitely has impacted. The relationship with the artist is a major impact.
SB: I think we also felt, since at that time we were really the only window into South Asian contemporary art at that time, even though we had a tiny space in Soho we felt it was important to have a permanent space where people could come and consistently see good shows. We felt that it was important to see the development of contemporary Indian art. So it was important to show the modern painters, Souza, Husain and kind of educate people in the sense of where it’s coming from, what the trajectory was. I think consciously we had several shows from Souza to Husain to Bengal school and others that we felt were important just as a background to all these other contemporary artists.
AB: And in a sense one of the most pivotal shows that we had was Kalighat paintings. It was about eight to ten Kalighat works that Steve, Shumita and I acquired from Ram Gopal, this famous Bharatnatyam dancer based in the UK at the time. We went to London. None of us at the time could really afford to take a trip to London, we were residents or newly minted attendings in medicine and Shumita was a newly minted software engineer. We used our Visa card and bought these tickets to London to go see these shows, to go see this collection. We were notified of this collection by Vijay Kumar.
SB: Also I must say, he was a very important person for the gallery.
AB: Yes, as many of you may know, he’s a New York artist. He called one day and said that there is this collection of this Indian dancer in London, and you should go, and you might be interested in it. We called this guy and went to see this collection and we bought the collection as soon as we saw it and showed it to the British museum after buying it. T. Richard Blurton of the British Museum was curator at the time; he was flabbergasted that these punks from New York could swoop into London and grab this incredible work from London, and take it away. So the show got a write up in the New York Times. But it was a book that was published by the Victorian & Albert Museum called “Kalighat paintings” by Archer- in that book there were two pages, one of a Kalighat painting and the other of almost identical brushwork, almost, and the subject matter was quite similar, of Lejeune. That image of Kalighat painting, done c. 1850 and a Lejeune done c. 1910-1915 was so identical that it had to have been seen by Lejeune. The essence of that statement was so antithetical to what was being said at the time- that all Indian art production, it was felt in 1994, was derivative of the West. And this was a wonderful example of not only the untruth of that statement but the fact that it goes both ways. The West can derive from India or South Asia just as easily as South Asia can derive from the West. It was that sense of injustice, intellectual injustice that was the driving force of a lot of Bose Pacia and a lot of +91.
DV: Which we will get to in a bit. You know, you were one of the first galleries that represented Indian artists in the West. What was the reaction of artists when you approached them about exhibiting in New York?
SB: It started with Art India Now, which I think was back in 1993. We literally went to Calcutta and Delhi and much of it was thanks to Arun who had made some introductions to a lot of the Calcutta artists and we literally went from studio to studio. We had no funds to do this; we had no means of acquiring works. We just had an idea and a passion for doing it.
DV: Because artists weren’t mobile at that time.
AB: They weren’t mobile. So Steve, Mita and I would walk into Jogen Chowdhury’s house in Santiniketan and the reception would always start out being a warm reception, as it’s a Bengali house, but then beyond that it would be “ok this is very interesting please sit down have some tea, what can I do for you” and we would say “I have this gallery, I have this idea of promoting Indian art” and it’s 1994 remember, “we’re hoping to consign some work to take to the United States”. That did not go over well.
DV: You mean the work has to leave India?
AB: Yes, the work has to leave India. And then it was always about a two hour discussion and conversation and then suddenly; we remember this vividly, there was a turn and it happened almost in every instance, in every meeting, in every home over this cup of tea. Whether it’s Ganesh Haloi or Jogen Chowdhury, anybody… and the turn could be demarcated with a line. After those two hours of talking about what we were going to do, there is suddenly a realization. “Ok you’re trust worthy” and work starts to come out.
SB: I remember him pulling out drawings from beneath his bed.
AB: Under his bed! He brings out art work and goes “you gotta see this one painting, this is amazing”. So we were able to come back.
SB: Everyone was very generous and we ended up with one or two works from eighteen artists. We had the show called “Art India Now”
DV: Was that your first show?
SB: Well, our first show was called “Beyond India: Two Generations of Modern Art” and it was Vinod Dave and Arun Bose. We had rented a space in Soho, we didn’t have a permanent space at that time. We had 500 people at the opening, it was amazing. We had scrambled up a mailing list and had never hung a show before, hung this a couple of times. But the energy was amazing.
DV: I remember with Saffronart, the first showing was on the terrace of my building in Mumbai. We strung things together and just made it happen. But even you’ve been in the gallery world a while, you’ve been a collector, how do these two roles evolve? And what influences have they had on each other?
AB: I suppose the collecting, the gallerist’s role is, at least for us, an attempt to provide a professional platform, a commercial platform to showcase South Asian contemporary art the way it should be showcased. And back in 1994 there was no platform outside of India. With proper labels on the wall, in a proper gallery setting, not in somebody’s apartment or somebody’s living room. We felt that if the artwork was going to be taken seriously it had to be shown seriously with proper press releases, etc. That was the intent with showcasing the work. And then at the time there was such a discrepancy between the perceived value of the work and the monetization of the work. Work was selling for under 5,000, under 10,000 when it was being produced by one of the most talented artists from a billion people. It was a no brainer to us that this was ridiculous; it should be valued much higher. There was a point that we just couldn’t afford to buy the work ourselves. If we could, Steve, Shumita and I would have bought everything. Then we wouldn’t be able to keep the gallery doors open, so we had to sell. As we each got to a point in our careers where we could afford to buy some work, we bought work. Really, because we always knew that it was amazing work and then our budget caught up with what we wanted to do. We often sold work and then bought it back because we believed that it was still undervalued.
DV: When you’ve seen the progression of starting with more of the modern works and then you have contemporary, video art, installation, you have new media. How do you see the collectors evolving and appreciating this movement of art across genres, as a gallerist? You see new collectors developing new tastes and collections that they actually want to build. Have you seen them actually appreciating the new media as much as they do the modern and contemporary?
SB: I think recently more so. In the beginning, way back in the 90’s or 2000, it was definitely Latin American art or other genres, and it was typically from the auction catalog and it was the moderns who were selling at that point. Those were the artists that collectors would tend to start buying but then we saw over the years there hadn’t been that many shows of media artists. We started showing Raqs Media Collective or Shilpa Gupta for the first time. That was in about 2005, 2004. 2006. That was really one of the first times for Raqs Media Collective; they hadn’t really shown in India at that point.
AB: They had only shown at the Venice Biennale. We met them soon after the Venice Biennale.
SB:Ranbir Kaleka, an amazing artist and really one of the first artists anywhere in the world who did this incredible merging of painting and video; almost enhancing painting, adding things to painting, to a canvas that you can’t achieve.
AB: These were people that were pushing the barriers of art in ways that other people were not doing. That fact had to be acknowledged and supported. It really almost didn’t matter if it was new media or video installation or painting; they were doing something so novel that it had to be supported, because novelty and true inspirational work needs to be supported. The west or the non-sub continental west, is better at doing that because they expend the resource that’s necessary.
SB: Well, they’ve been doing it longer.
AB: Yes, they’ve been doing it longer and they expend what’s necessary to foster that type of collector. In South Asia, not- in South Asia or out of South Asia, we don’t really have the tendency to foster those kinds of collectors and that’s our fault. We need to.
DV: Some of the reasons for that? Why are we not able to foster them?
AB: I think the institutions for fostering those types of collectors don’t exist within India and outside of India. I was having a conversation earlier today about MOMA PS1- every small town in America has a contemporary art museum, every small village in Germany has a kunsthalle and there is not a single non-governmental, non-bureaucratic , grass roots effort in all of South Asia to develop that sense of collecting.
DV: There’s no public art either in India.
SB: Also I think in terms of getting a tax deduction…
DV: There isn’t that in India.
SB: Philanthropy, the support of it.
AB: That may be why we don’t have a lottery system like they do in the UK
DV: Or a system for grants; that doesn’t exist. Let’s just come back to you. What is the first painting you ever bought?
SB: Salma Arastu, an artist based in Pennsylvania
DV: And where is that? Is it hanging or in storage?
SB: We still have it; it was hanging for many years in the apartment.
DV: As you look at the collection here which are some of your favorites?
SB: Steve’s favorite too. The shutters are amazing. Ranbir, one of the most incredible painters to come out of India I feel. Nataraj, Seher… we have personal connections with so many artists that it’s hard to pick.
DV: Tell us about the relationships with artists you have built over time…some interesting anecdotes of these artists that you interacted with?
SB: Jitish is a good one. We visited him, after midnight.
AB: Jitish, yes. I used to make about five trips to India a number of years ago. Jitish Kallat, his studio used to be in Worli and Steve and I have gone out to the studio multiple times. It was about a two and a half hour commute, at the time, from central and Southern Bombay out to his studio. I would do it late at night; we would always end up very late at his studio drinking. One such visit he said “ I have this idea, for this work, I want to take mirrored surfaces, large mirrored surfaces and write on them the text from Nehru’s speech, the freedom at Midnight speech, and write in epoxy. I’ve done some investigations and I think it’s possible. Then I want to burn the epoxy and that will create a flame which will then indelibly mark the epoxy so that it is visible and it will warp the mirrored surface and that I think will be an interesting effect.” I had one too many drinks so I said that sounds like a fantastic idea. I’ll buy it. And he goes “yeah if you buy it then I can do it”. So I said ok. That work, now he’s done several like it, one of the works is called “Public Notice”. It’s a spectacular work, so that’s in our collection.
SB: That’s been one of the exciting things over all the years, just being able to make ideas happen. So many times with Atul, we felt it was our responsibility. As much as we could within our means to really push artists to do things that they normally wouldn’t do. Especially as the market got more and more strong and works were selling, it seemed it was even more important at that time. Because it was so easy to just keep making the same works that would so easily sell. So, often we would push Atul, one of the artists, from his project in Venice to his show at Bose Pacia, we would encourage him to “don’t worry about the sale, push the idea, just do it, just make it”. Mithu Sen with her It’s good to be queen show in New York; often those kinds of experiences. Bari Kumar with his five panel work that he was thinking about painting for years and he didn’t feel comfortable doing and we just said just do it and he painted this amazing five panel work. That has been for us very exciting and very rewarding.
DV: I’m going to ask one more question and then open it up to the audience, because it is six o’clock. Now talking about ideas, + 91, the Foundation. That’s an idea, something you’ve been thinking about for a long time.
AB: It has components that originate in what we have been doing for the last number of years. The gallery was and has been from early on and certainly in the latter years had been seen as a resource, a study center, as a place to do research on Indian contemporary art and it has been used by many people for their Masters, PhD dissertations and research in college and graduate school. So that aspect has been going on for some time. The idea that the artists, that the art space could be used as an interactive studio of sorts we have been investigating as Transparent Studio since Bose Pacia stopped its commercial operations. That’s an artist residency program where the artist uses the gallery space as a studio for about three months at a time. We have been loaning to institutions for a number of years. We’ve been keeping track since 2005. We’ve loaned from the collection to more than 50 institutions, hundreds of works of art, in five continents or so throughout the world. The Bose Archive has been an effort to take the collection and other collections and archive them, document them and make them accessible for research study purposes to the general public as an entity. The +91 idea, +91 is a nonprofit foundation we’re starting, +91 standing for the cell phone country code of India, that is an effort to bring all of these activities under one roof. To have a study center component, to have an archival component, to have an interactive component, to offer exhibition platforms all under one roof.
SB: Also, what we were talking about just before this, that idea of pushing artists… for us it’s always been such an important part and we’d like to continue that through the foundation. Working with artists that may not have commercial representation and allowing them to try out ideas and also artists that might be doing quite fine and continuing to push their practice as well.
AB: Yes, to encourage creative risk taking within the South Asian artistic community and to basically, as Sadia, our director of the foundation, who’s right here, put it quite elegantly “To mediate that risk taking between the artistic studio, the artistic practice and the general public”. That mediation is the best way to describe +91.
DV: Well thank you and congratulations on all the initiatives. I hope it really works out and does some great things. We can open it up for questions.
Audience question: I’m interested to hear – what the state of the collectors is now and was there an impact in terms of the financial crisis, not just from a financial point but as it’s caught on and everybody’s into it could become very flashy and materialistic instead of actually art.
AB: Yeah. Part of, let’s say before the crisis, the Indian subcontinent began, as the middle and upper class began to become larger they became to value the heritage of the country so there were a lot of Indian collectors. Simultaneous to that there was a huge influx of museum shows in Europe after the Tate Modern show that happened in 1999-2000 “Century City” after “Century City” there were shows everywhere Berlin, Barcelona, Manchester, Paris, Sweden all over Europe from 2000 onwards. That created a number of European collectors. As the market began to shift towards China, there are a number of Asian collectors. And then the crash affected everyone but by that time there was enough European Asian and South Asian collectors that it somewhat mitigated or allowed a bounce back a rapid bounce back of the market.
DV: I think there was a period, where especially before the financial crisis there was a lot of speculation in contemporary art, and after the crisis what I think we have are serious collectors. People look at it in a very different way as opposed to looking at it from one point of you. That’s why the point of view of Arani and Shumita is to encourage experimentation, let artists create something they are proud of as opposed to something they can sell. I think the whole mindset has changed; the way people buy contemporary art and the way contemporary art is produced.