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Posts by elisabettamarabotto

Krishnamachari’s Curatorial Callings

November 12, 2013

Aaina Bhargava of Saffronart on artist – curator Bose Krishnamachari’s selection as the curator for the Indian Pavilion at Art Stage Singapore 2014, and it’s new feature Platform

London: Singapore’s annual art fair – Art Stage Singapore – is introducing a new feature to its latest edition in 2014, regional platforms for seven participating Asian nations/regions including southeast Asia, China, Taiwan, Japan, Korea, Australia, and India.  Each platform essentially functions as an exhibition showcasing works by artists from each particular region.  Curators have also been regionally selected to create these platforms, with India’s, being curated by the Kochi-Muziris Biennial cofounder and co-curator Bose Krishnamachari.   In a brief, recent, interview he explains his initial approach to the project:

“I will be looking at the works of Indian artists and have to pick six to eight of them through their galleries.”

While his previous large-scale exhibition curatorial project was the Kochi Muziris Biennial, a much more academic and locally contextualized endeavor, the Indian Platform for Art Stage is a “curated sales exhibition,” that aims to exhibit works in a contemporary Asian framework.  This provides an intriguing contrast in terms of audiences who he will be curating for and artists that he will select to represent the Indian contemporary art scene and will contribute to defining the contemporary Asian art scene, the premise upon which Art Stage Singapore seeks to operate. Heralding the motto, “We are Asia,” this event brings together 131 galleries, 75% of which are from Asia Pacific.  Through juxtaposing works by known and emerging artists from various different Asian regions, Platform commits to Art Stage’s attempts to make Singapore a solid and driving force in the Asian art market.  Expanding on the importance of representing a diverse Asia, Lorenzo Rudolf (Founder and fair director) states,

“When we speak about Asia, we cannot speak about an undifferentiated, single Asian contemporary art scene as the region is highly segmented. From a western perspective, there is sometimes limited understanding of the market differentiations within Asia and little depth of knowledge about the individual art markets…This new addition [Platform] will give visitors not only a holistic overview of artistic developments, but also a deeper understanding of contemporary art from Asia Pacific.”

To allow viewers the opportunity to witness this comparative juxtaposition of artworks from different regions, Platform will be exhibited in a non-segregated, museum like format over approximately 20% (or 1800 sq. meters) of the fair exhibition space. The Southeast Asia Platform is to be the largest of the Platforms. These works are to include “site-specific works, interactive installations and innovative conceptually driven works, meant to discuss important topics that address the contemporary society.”  This description holds similar to that of works made for or presented at biennials, particularly site specific works and cutting edge, innovative conceptual works.  Presenting these types of works at an art fair and having this particular exhibition curated by renowned curators such as Krishnamachari who are known for their work at biennials and other non commercial exhibitions, reflects a desire to bring a critical credibility to the fair as well an educational component.

The paradigms that both art fairs and biennials (and other art events) follow seem to be coming closer and closer together, although both institutions have fundamentally different goals.  They are increasingly starting to include educational collateral programs that exist not only to stimulate discourse and raise awareness about contemporary art but also to create a more informed market.  Krishnamachari’s role (and that of other curators for different platforms) will become instrumental in determining which Indian artists are representative of an evolving contemporary Indian art scene, and negotiating that with those who are able or who have the potential to succeed commercially.  Whether this negotiation can be successfully achieved in actuality remains to be seen till the opening of Art Stage Singapore on January 15th 2014, we are certainly looking forward to seeing the final exhibition of Platform and how it contributes to the fair.

Mithu Sen at Art Stage Singapore

Mithu Sen at Art Stage Singapore. Image Credit: http://www.galeriesteph.com/pdf/gs_mithu-sen_installation.pdf

For more information visit: Art Stage Singapore.

 

Bejewelled Museum of London

November 11, 2013

Shradha Ramesh unearths the tale of green stone ‘The Cheapside Hoard: London’s Lost Jewels’

New York: Like The Castafiore Emerald in The Adventures of Tin Tin, one is found caught in the glittery mystery of hoard found near St. Paul’s Cathedral, London. A collection of 400 pieces of 16th and 17th century jewellery box that belonged to Queen Elizabethan and Jacobean found buried in a cellar in Cheapside. The stories and assumption of the hoard burial is vast and varying. Significance of the hoard as mentioned by curator Hazel Forsyth is “It is the largest hoard of its kind, dating from the very late 16th to the early 17th century. Part of the reason why it’s so important is that jewelry tends to be broken up, refashioned, reworked, and so therefore doesn’t survive. Because this was buried and lay undisturbed for the better part of 300 years, it survived in the condition that it has. And it covers a huge spectrum of jewelry designs and types, but also gem material from many parts of the world, which really underlines London’s role in the international gem and jewelry trade in this period.”

Watch|Colombian emerald crystal|1600 circa

Watch|Colombian emerald crystal|1600 circa. Image Credit: http://www.gia.edu/gems-gemology/FA13-cheapside-hoard-weldon

The sensational jewellery exhibit this year is ‘The Cheapside Hoard: London’s Lost Jewels’ showcased by the Museum of London. With luminous green Columbian emerald watch that allows you to read time through a closed lucid lid that makes one completely spell bound and speechless. And the man-made craftsmanship accentuates the beauty of the gemstone. To further enhance the visual milieu of mineral species of green stones the beryl Gemfields ‘Medusa’ emerald entrapped in its natural existence and being enveloped by crystal quartz adds the much needed emphasis. The emerald permeates light and invites attention of the spectators from across the room.

According to Saffronart jewellery guide, the emeralds from Columbia South America are world renowned and the ‘Emerald belt ‘of America is found in Cordillera Oriental mountain range of the Andes. And among emeralds from around the world, the gemstone is believed to ward off evil and cure diseases like cholera and malaria. The underlying theme and reference to Columbian emeralds were romance and were also subject to adventures of sixteenth-century Spanish plunder and trade. A gemstone with rich history and mystery makes it a must see this winter.

A salamander brooch made from Colombian cabochon emeralds and table-cut diamonds from India, set in gold. It originates from somewhere between the 16th and 17th century, when the salamander had particular symbolic significance.

A salamander brooch made from Colombian cabochon emeralds and table-cut diamonds from India, set in gold. It originates from somewhere between the 16th and 17th century, when the salamander had particular symbolic significance. Image Credit: http://www.thejewelleryeditor.com/2013/10/two-extraordinary-emeralds-are-set-to-draw-the-crowds-at-the-cheapside-hoard-exhibition-in-london/

Gemfields' 'Medusa' emerald from the quartz rock|Discovered in Zambia in 2008

Gemfields’ ‘Medusa’ emerald from the quartz rock|Discovered in Zambia in 2008. Image Credit: http://www.thejewelleryeditor.com/2013/10/two-extraordinary-emeralds-are-set-to-draw-the-crowds-at-the-cheapside-hoard-exhibition-in-london/

The exhibit runs at the Museum of London from 11 October 2013 – 27 April 2014 for a span six months.

To Learn More Click Here

Ark Nova: a Collaboration between Anish Kapoor & Arata Isozaki

November 7, 2013

Elisabetta Marabotto of Saffronart shares a note on Ark Nova, the latest creation of Anish Kapoor and Japanese architect Arata Isozaki

London: On October 14 the world’s first inflatable concert hall was erected in the coastal town of Matsushima, Japan.

Ark Nova by Anish Kapoor and Arata Isozaki

Ark Nova by Anish Kapoor and Arata Isozaki. Image credit: http://www.dezeen.com/2013/09/26/ark-nova-by-arata-isozaki-and-anish-kapoor-completes/

Ark Nova which was modelled on Kapoor’s Leviathan sculptures, will tour across the areas affected by the 2011 earthquake. This mobile structure, a balloon made of coated polyester material, has room for 500 people and it has been designed to stage different kinds of performances ranging from dance and art to orchestras and jazz.

Ark Nova by Anish Kapoor and Arata Isozaki

Ark Nova by Anish Kapoor and Arata Isozaki. Image Credit: http://www.dezeen.com/2013/09/26/ark-nova-by-arata-isozaki-and-anish-kapoor-completes/

Kapoor and Isozaki said about the hall: “We named the Project Ark Nova, or ‘new ark’, with the hope that it will become a symbol of recovery immediately after the great earthquake disaster. Ark Nova obviously can’t carry people and animals to escape from disaster, but we conceived the ark to travel packed with music and various arts, from the perspective of long-term rebuilding of culture and spirit.”

Ark Nova by Anish Kapoor and Arata Isozaki

Ark Nova by Anish Kapoor and Arata Isozaki. Image Credit: http://www.thisiscolossal.com/2013/09/ark-nova/

The hall was inaugurated by the acclaimed Lucerne Festival of music.

Ark Nova by Anish Kapoor and Arata Isozaki

Ark Nova by Anish Kapoor and Arata Isozaki. Image Credit: http://www.dezeen.com/2013/09/26/ark-nova-by-arata-isozaki-and-anish-kapoor-completes/

 

Aesthetic Bind – Celebrating Fifty Years of Contemporary Art

November 6, 2013

Raqs Media Collective, The Untold Intimacy of Digits (UID). Projection, video loop (1”), 2011,

Aaina Bhargava of Saffronart on Citizen – Artist 2013, the second exhibition in a series of five in celebration of the 50th anniversary of Chemould Prescott Gallery.

K. Madhusudhanan, History is a Silent Film, 2007, Sinle projection with sound, Variable dimension

K. Madhusudhanan, History is a Silent Film, 2007, Sinle projection with sound, Variable dimension. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/k_madhusudan_copy1.jpg

London: September 2013 – April 2014 has and will be an exciting time at Chemould Prescott Gallery, Mumbai. Curating five exhibitions during this time frame, Geeta Kapur depicts an extremely evolved contemporary Indian art scene with Citizen – Artist (Oct.14th – Nov. 15th 2013), mirroring the growth and expansion of Chemould Prescott as a gallery.  The first exhibition in the series, Subject of Death, was in remembrance of Bhuppen Kakkar, the groundbreaking painter supported by Chemould at the beginning of his career, with this particular exhibition opening on his 10th death anniversary, as well as an ode to the late Kekoo Gandhy, founder of Chemould Prescott in 1963.  The second – Citizen Artist deals with notions and definitions of citizenship, nations and borders, the exhibition features works by Inder Salim, K. Madhusudhanan, Tushar Joag, CAMP, Gigi Scaria, Ram Rahman, Shilpa Gupta, Rashid Rana, Atul Dodiya, Jitish Kallat, Raqs Media Collective, Gauri Gill and Arunkumar HG.

Each work is deeply engaged with the implications of citizenship in a contemporary globalised world.  For instance, in Shilpa Gupta’s 1278 unmarked, 28 hours by foot via National Highway No1, East of the Line of Control 2013, she places a graveyard in the middle of the gallery, and creates an index of people who are considered martyrs by their families, but are buried namelessly, questioning the ethics (or lack thereof) of citizenship in Kashmir.

Shilpa Gupta 2013 1278 unmarked, 28 hours by foot via National Highway No1, East of the Line of Control

Shilpa Gupta 2013 1278 unmarked, 28 hours by foot via National Highway No1, East of the Line of Control. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/shilpa_gupta_5_copy3.jpg

Circadian Rhyme, 2 & 3 (2012-2013), by Jitish Kallat involves miniature crafted-figures staged in a line on a ledge, to depict scenes from everyday travels such as airport security checks, immigration queues etc.  In detail, one figure is performing a security ‘pat down’ on another, seemingly commenting on the increase in accessibility of global travel, but the costs and troubles of crossing borders that go with it.  The greater accessibility is increasing the crowds, risks, and precautionary measures.

 

Jitish Kallat Circadian Rhyme Detail. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/jitish_kallat_1_copy1.jpg
Jitish Kallat Circadian Rhyme, 2 & 3, 2012-2013 24 figures (resin, paint, aluminium and steel) 50 x 180 x 15 in. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/jitish_kallat_2_copy1.jpg
Jitish Kallat Circadian Rhyme, 2 & 3, 2012-2013 24 figures (resin, paint, aluminium and steel) 50 x 180 x 15 in.

Jitish Kallat Circadian Rhyme, 2 & 3, 2012-2013 24 figures
(resin, paint, aluminium and steel) 50 x 180 x 15 in. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/jitish_kallat_3_copy1.jpg

Rashid Rana’s Crowd is thematically similar, and is composed of three photo prints on wallpaper involving digitally spliced and manipulated images.  An intense reproduction a mixed population people is projected onto the wallpaper focusing on the loss of identity and individuality in very populous.

Installation of Rashid Rana's Crowd (2013) in Chemould Prescott Gallery, Offset print on wallpaper

Installation of Rashid Rana’s Crowd (2013) in Chemould Prescott Gallery, Offset print on wallpaper. Image Credit: http://www.gallerychemould.com/exhibitions-works/citizen-artist-2013/rashid-rana-50-years-chemould.html

Raqs Media Collective’s animated video projection loop, The Untold Intimacy of Digits (UID) (2011), is an image of the handprint of a 19th century Bengali peasant, Raj Konai, which was taken by British colonial officials in 1858, and then sent to Britain.  Fingerprinting technologies were developed from experiments based on this image.  The Unique Identification Database (UID – same as the title) is a new project initiated by the Indian government in attempts to properly account for, and index its’ population.  This work poses an interesting juxtaposition of India’s colonial past and current day attempts to account for citizens.

Raqs Media Collective, UID Installation View

Raqs Media Collective, UID Installation View. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/raqs_1_copy1.jpg

 

Raqs Media Collective, The Untold Intimacy of Digits (UID). Projection, video loop (1”), 2011,

Raqs Media Collective, The Untold Intimacy of Digits (UID). Projection, video loop (1”), 2011. Image Credit: http://www.gallerychemould.com/uploads/exhibitions/raqs_2_copy1.jpg

These are a few amongst many other multi medium and media works that dwell on various aspects of citizenship and certainly don’t seem to be in an aesthetic bind.  The third and next installment in the Aesthetic Bind series to look out for is Phantomata (Nov. 29, 2013 – Jan 03, 2014) participating artists include: Tallur L N, Susanta Mandal Sonia Khurana, Nikhil Chopra, Tushar Joag, Pushpamala N, Baiju Parthan, and Pratul Dash.  For more information visit about the exhibitions visit Chemould Prescott Gallery website.

Asian Art in London 2013 (31/10/2013 – 9/11/2013)

November 4, 2013

Aaina Bhargava of Saffronart introduces Asian Art in London 2013

Asian Art in London

Asian Art in London. Image Credit: http://www.asianartinlondon.com/content/homepage

London: It’s Asian Art in London week, the perfect opportunity to indulge in your appreciation for Asian Art and simultaneously engage with London’s vast network of art institutions that hold various events such as lectures, symposiums, exhibitions, and auctions solely dedicated to Asian Art.

A few South Asian highlights featured include, The Annual Benjamin Zucker Lecture on Mughal Art: Jahangir’s Gulshan Album and its marginal decorations at the Victoria and Albert Museum on Nov. 7th, a lecture on Orchha not Mandu, 1592 not 1634: A Revolutionary View of ‘Malwa’ Painting held at SOAS on Nov. 6th, and a symposium on The Art of Being A Part: Two South African-born Asian Artists in Dialogue – Clifford Charles and Anthony Key on Nov. 9th at the Courtald Institute of Art.

A number of exhibitions featuring South Asian Art are being held including: The Surreal in Indian Painting: Select Works from the Arturo Schwarz and other Private Collections at Prahlad Bubbar, God, Demons and Lovers at Rob Dean Art, Indian Court Painting 16th – 19th Centuries at Sam Fogg, A Prince’s Eye Imperial Mughal Paintings from a Princely Collection Art from the Indian Courts at Francesca Galloway, Modern and Contemporary Indian Miniatures at Grosvenor Gallery, Indian & Islamic Works of Art at Simon Ray Indian and Islamic Works of Art, An Important Group of Sculptures from India, Southeast Asia and China at Jonathan Tucker Antonia Tozer Asian Art, Nature at Alexis Renard and Indian Ivory and Imran Channa at Joost van den Bergh.

The Saffronart London team will be checking out the galleries participating in the Late Night Opening Mayfair tonight (Nov. 4th), hopefully we’ll see you there.

For more information regarding events visit Asian Art in London.