Memoir: Progressive Artist Group

Shradha Ramesh takes a leap into the past to reveal the men behind the Modern Indian Art movement

New York: The trailblazer collection by Delhi Art Gallery (DAG), Progressive Artist Group, is now on display in Kalaghoda, Mumbai, from October 26, 2013 to December 25, 2013.A visual repertoire of 30,000 works the exhibit follows a retrospective theme of the Progressive Artists’ Group (PAG). Mumbai was the epicenter for this group that started in 1947, the exhibit is aptly located in the city the group was formed.

PROGRESSIVE ARTIST GROUP (PAG) | MUMBAI  1948 First show inaugrated by Sir Cowasji Jehangir

Photo Courtesy: KalaRasa Art House
PROGRESSIVE ARTIST GROUP (PAG) | MUMBAI 1948 First show inaugurated by Sir Cowasji Jehangir
(L to R: Emmanuel Schelinger, F N Souza, M B Gade, S Bakre, K H Ara, S H Raza, M F Hussain, Anant Kannangi)

PAG saw the light of visual maestros such as F N Souza, SH Raza, MF Husain, SK Bakre, HA Gade and KH Ara who rule the modern art market today. The other members who joined later were Vasudeo S. Gaitonde, Krishen Khanna and Mohan Samant.The group introduced anarchic thinking that leaned towards Indian avant-garde expression that introduced Indian art at an international level. It broke away from the nationalistic revival canons introduced by Bengal School of art and engaged in freedom of creation. Influenced by European modernism the group’s style is vast and ranges from Cubism to Abstract Expressionism. The founding pillars of the Progressive Artist Group (PAG) are Francis Newton Souza, Sayed Haider Raza and Maqbool Fida Husain.

 FRANCIS NEWTON SOUZA | Untitled | a) c.1965 b) 1997

FRANCIS NEWTON SOUZA | Untitled|a) c.1965 b) 1997

Goan born artist, Francis Newton Souza was recognized both in India and abroad. His artworks are known to be forthright and individualistic stylistic rendition of semi-abstract forms. The human forms in his works are unrealistic with multiple eyes and hands it created a sensation during his time. When asked about western influence in his work, he responded saying “Renaissance painters painted men and women making them look like angels. I paint for angels, to show them what men and women really look like.”

SYDER HAIDER RAZA| Maa...|2006

SYDER HAIDER RAZA| Maa…|2006

Sayed Haider Raza is known to introduce Bindhu to a new visual medium. On his canvas the Bindhu takes a new meaning, it creates a transcendental and enticing impact on the viewers. When asked about the Bindhu and its significance in his work, Raza said “For me, Bindu is a point where I concentrate, my energy, my mind. It has become like Bhagvat Gita, Swadharm and all that. You have to fix your energy on one thing and not ten things. If you go to ten directions, it’s distraction of energy. I think one woman is enough (laughs).If you say Ram Ram Ram and Allah Allah Allah, you will get confused. So one god is enough. For me Bindu has never done the same thing. There is logic in every abstract form that I make. My work is like poetry and it should create a different atmosphere for the visitor. Poetry, literature and art seem simple but it is very difficult to understand it.”  Coincidentally, Saffronart’s winter online auction this December is focusing on SH Raza.

MAQBOOL FIDA HUSAIN|ETERNAL MOTHER

MAQBOOL FIDA HUSAIN|ETERNAL MOTHER

Picasso of India, Maqbool Fida Husain (MF Hussain) is known to have revolutionized the painting in India with his hallmark works that capture the quintessence of his subjects, like Mother Teresa and the characters of epics like the Mahabharata. MF Husain explains about his Mother Teresa series, “I have tried to capture in my paintings what her presence meant to the destitute and the dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street. I did not cry at this encounter. I returned with so much strength and sadness that it continues to ferment within. That is why I try it again and again, after a gap of time, in a different medium” (as quoted in Ila Pal, Beyond the Canvas: An Unfinished Portrait of M.F. Husain, South Asia Books, New Delhi, 1994).
DAG was started by Rama Anand in 1993 and later was taken over by his son Ashish Anand. The gallery in Mumbai is 150 years old in artsy neighborhood that suits the overarching theme of the exhibit. To experience the peregrination of Modern Indian Art visit DAG Mumbai.

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The Body In Indian Art

Ipshita Sen of Saffronart introduces The Body In Indian Art, one of the exhibitions part of Europalia- India in Belgium

New York: Whether it is physical culture, dance, adornment, yoga, Ayurveda- no civilization has had a fascinating interpretation and thorough understanding of the Body as India.

A Late Gupta Mask in Silver from Al Sabah, Kuwait.

A Late Gupta Mask in Silver from Al Sabah, Kuwait. Image Credit: http://www.thehindu.com/features/friday-review/art/evoking-india/article5171360.ece

Indian art uses a unique framework to examine and represent the intricacies of the body. Curator Naman Ahuja invites the viewer to explore the essential elements of the Body and what drives Indian bodies. Ahuja aims to answer questions such as where do society’s archetypes of heroism and valour rest? What motivates abstinence and asceticism? How does a civilisation view the rites of passage, death, and birth? To what extent do Indians believe that the body’s fate is destined / predetermined, and to what degree is fortune in the hand of those people who shape it for themselves?

An Egg Symbolising the Universe by Subodh Gupta.

An Egg Symbolising the Universe by Subodh Gupta. Image Credit: http://www.thehindu.com/features/friday-review/art/evoking-india/article5171360.ece

Belinder Dhanoa, editor of the catalogue for the exhibition, says that the exhibition  “reveals the body not only as the subject of art, but also as the medium used to convey the values, preoccupations and aspirations of the times. Through sculpture and painting we’re going to showcase visualizations of concepts as diverse as the ascetic, the heroic and supernatural bodies; and display artworks that examine and record some of the philosophical and aesthetic threads that run through the centuries. Through art, the body will be shown as a site for defining individual identity, constructing sex and gender ideals, negotiating power, and experimenting with the nature of representation itself.”

A Painting on Display at "The Body of Indian Art" at Europalia 2013.

A Painting on Display at “The Body of Indian Art” at Europalia 2013. Image Credit: http://in.blouinartinfo.com/news/story/968976/sneak-peek-at-europalias-the-body-in-indian-art-show

The exhibition thus takes one on a journey from death to rebirth, forces of fate to power of human action and much more, encapsulating themes of religion, aesthetics, philosophy, and cosmology.

Surasundari, a Sandstone Sculpture from Indian Museum, Kolkata.

Surasundari, a Sandstone Sculpture from Indian Museum, Kolkata. Image Credit: http://www.thehindu.com/features/friday-review/art/evoking-india/article5171360.ece

Go discover the 250 enchanted treasures of ancient India from temples, tiny provincial museums, archaeological institutes and private collections in the pursuit of discovering the multifaceted complexities of the Body.

The exhibition is on view as part of Europalia-India at the Centre of Fine Art in Brussels until January 5, 2014. More information about this captivating exhibit can be found here.

Visual Palimpsest

Shradha Ramesh talks about the artist Navjot Altaf and her current exhibition at Talwar Gallery, Delhi

I often catch myself wondering if all women artists are feminist, and how their feminist thinking influences their work. Art is after all a medium of self expression and artistic creation most often than not is an artist’s perception towards life. One artist who has translated her feminist thinking into a visual language is Navjot Altaf. Her artwork exemplifies her feminist views. Born in Meerut (1949) this multi-faceted artist expresses her socio-political concerns through her artwork.

Photo Courtesy: Talwar Gallery    A Woman and Two Donkeys |Wood, Acrylic  and Brass|2013 by Navjot Altaf

Photo Courtesy: Talwar Gallery
A Woman and Two Donkeys |Wood, Acrylic and Brass|2013 by Navjot Altaf

A painter, sculptor, installation artist and filmmaker, Navjot Altaf is all of these and more. While her subject matter questions the varying societal and religious injustice, her medium of expression sees no boundaries either. The materials incorporated in her repertoire are wood, iron, acrylic, inkjet on paper, channel videos and more.

Photo Courtesy: Talwar Gallery  Agkuklios Paidea | Wood Acrylic, Steel and Iron|2013 by Navjot Altaf

Photo Courtesy: Talwar Gallery
Agkuklios Paidea | Wood Acrylic, Steel and Iron|2013 by Navjot Altaf

Her sculptural works are thought provoking, dynamic and vibrant. They are immobile narrators of her emotional reaction to social issues and systems. In her interview to The Sunday Guardian, she says “…I have constantly been interested in the existence of several knowledge systems, and how some are always glossed over by the dominant others. Through my artistic undertakings, I have always tried to manifest this plurality.”

Having graduated from Sir J.J School of Art, she was introduced to the likes of Paul Klee and Joan Miro, as well as, visual initiation to the works of Gaitonde, Bendre, Hussain, Mehta and Hebbar’s works. A personal interaction with Altaf Mohammadi sparked and nurtured her already existing humanist values to more progressive ideals. Her High school  education on Hindi literature, English and Psychology has a deep impact on her creation. She has exhibited at several international forums including ‘Bombay/Mumbai 1992-2001’ in Century City: Art and Culture in the Modern Metropolis, Tate Modern, London; and the Eighth Havana Biennale, 1994, ‘Expressions Women’s Cultural Festival in Mumbai 1990, Festival of Indian Contemporary Art, Covent Garden, London 1988, ‘Intergrafik 87’ Berlin, the first international Biennale of Prints, Sao Paulo, 1986.

Photo Courtesy: ArtSlant Lacuna in Testimony |2003 | three-channel video installation with 72 mirrors by Navjot Altaf

Navjot Altaf is known to interact and collaborate with artists and communities from various places. ‘Through the Binoculars’ a series, she makes a statement of observing other cultures, coproduced with Shilpigram, a handicraft community sponsored by the government. From here on Altaf went on to make collaborative projects. Her exhibit ‘Water Weaving’ at Talwar Gallery in New York (2005) was an art en masse. A film on weaving that was based on marginalized tribal group in Bastar, was created with the help of the locals.‘Lacuna in Testimony’, a video installation is based on the traumatic result of the Gujarat Hindu-Muslim riot, 2002.The artist gives a glimpse of history and unreasonable implosion created by mankind in an allegoric visual representation of the Arabic Sea.

Photo Courtesy: Talwar Gallery  Agkuklios Paidea II | Iron | 2013 by Navjot Altaf

Photo Courtesy: Talwar Gallery
Agkuklios Paidea II | Iron | 2013 by Navjot Altaf

Her current exhibit ‘Horn in the Head’ at Talwar Gallery is a solo exhibit. A three part installation- A Woman & Two Donkeys, Agkuklios Paidea and Same Difference,conveys the recent changes in world. The exhibition is on from September 27- December 7, 2013.

To Read more on the exhibit Click Here

Imran Qureshi’s Inaugural Solo Exhibition in Rome

Elisabetta Marabotto of Saffronart suggests a visit to the MACRO in Rome for Imran Qureshi’s first solo exhibiton in Italy

Installation Shot at MACRO, Rome

Installation Shot at MACRO, Rome

London: The MACRO (Museum of Contemporary Art of Rome) is hosting Imran Qureshi’s first solo exhibition in Italy in collaboration with Deutsche Bank.

After being nominated Deutsche Bank “Artist of the Year” 2013 and after completing a large scale site specific installation at the MET in New York, Qureshi concludes a very successful artistic year with this exhibition.

Installation Shot at MACRO, Rome

Installation Shot at MACRO, Rome

Qureshi, one of the leading contemporary Pakistani artists, is internationally renown for the creation of contemporary miniatures. The artist in his work discusses the current socio-political situation in Pakistan including delicate topics such as terrorism using mainly traditional painting techniques on wasli (handmade paper). The dichotomy between violence and hope, destruction and creation are also permanent features in his art as well as the evocative red colour and the flower pattern which denote Qureshi’s optimism and peaceful resistance.

Imran Qureshi in an interview with Amna Tirmizi Naqvi said about his choice of studying miniature paintings:

“I did not choose it, it kind of chose me. I was adept at it and therefore Professor Bashir, the teacher who was conducting the course, insisted and declared that he felt I was really suited for it. I chose painting but he kept insisting. Contrary to his opinion I had my own misgivings and I replied that the tradition did not suit my temperament. He quoted a mahawara, which is witty idiom in Urdu. He stated that “we can tell from the aroma emanating from the cauldron about the condition of a single grain of rice”. I thought that if a teacher is conveying this idea with such persistence, there must be some truth in it.”

Installation Shot at MACRO, Rome

Installation Shot at MACRO, Rome

The present exhibition features recent works by Qureshi, some of which had been exhibited at the Deutsche Bank Kunsthalle in Berlin, including miniatures, oval canvases as well as site specific installations. The museum space is fitting to Qureshi’s works as it offers a classical presentation for the miniatures and a contemporary environment for the installations.

The exhibition stimulates the viewers to embark on a critical discourse on culture, politics and religion and their misconceptions and stereotypes.

Below you can enjoy a selection of the works on display.

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The exhibition is on until November 17, so you are still in time to visit Imran Qureshi’s first Italian solo exhibition at the MACRO in Rome! For more information click here.

Iran Modern at Asia Society Museum

Ambika Rajgopal of Saffronart shares a note on the exhibition of Iranian modern art at the Asia Society Museum, New York.

Untitled, 1973, Abolghassem Saidi. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Untitled, 1973, Abolghassem Saidi. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

London: Don’t forget to catch the first major international exhibition of Iranian modern art, from the 1950s to the 1970s at the Asia Society Museum in New York. The Asia Society Museum has been committed to closing the cultural chasm that exists between Asia and America. By promoting and showcasing a wide range of traditional and contemporary exhibitions of Asian and Asian American art, the museum has given Asian art a wider platform for exposition.

The focus of the exhibition is to highlight the thriving glory of Iran’s flourishing art scene before the Islamic Revolution of the 1979s. The exhibition features 100 works by 26 artists that encapsulate the international presence that these Iranian artists had with the rest of the art world. The collection of this exhibition have been loaned from leading artistic institutions like JPMorgan Chase Art Collection, The Museum of Modern Art, New York, and Tate, London.

Crossroads (Earthwork), 1975, Marcos Grigorian. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Crossroads (Earthwork), 1975, Marcos Grigorian. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Curated by scholars Fereshteh Daftari and Layla S. Diba, the thematic exposition of the paintings, sculptures and photographs, unravels the provenance and subsequent evolution of Iranian modernism. Embedded within Iran’s political and cultural climate, the exhibition highlights the global interaction that Iranian art from this period enjoyed.

Untitled, 1977, Monir Shahroudy Farmanfarmaian, Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Untitled, 1977, Monir Shahroudy Farmanfarmaian, Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

 A threefold division explores the artistic genres of Saqqakhaneh, abstraction and calligraphy. Saqqakhaneh was the name of the artistic movement coined by the art critic Karim Emami in 1963. The movement amalgamated popular symbols of Shi’a Muslim culture within modern art. Each of the three sections features a monographic highlight of selected seminal artists, who played an influential role in defining Iranian Modernism.

Ledge (1), 1970, Siah Armajani. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Ledge (1), 1970, Siah Armajani. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

The Saqqakhaneh movement, with its direct roots in the heart and soul of Iranian lineage, arose as a retaliation of the mimicry of Western values. Instead the movement assimilated Iranian traditions with Western modernity to form a unique pastiche, which was both distinctive and relevant on a global scale, a ‘spiritual Pop Art’ of sorts. In addition to the artworks, the exhibition features plenty of archival material to substantiate the history, politics and cultural environment of the pre- Iranian revolution.

One of the proponents of the Saqqakhaneh movement whose works can be seen in the exhibition is Parviz Tanavoli. Tanavoli created a new language for sculpture in Iran, by combining pre Islamic art motifs and modern day objects. A recurrent feature in his work is the word heech, meaning ‘nothing’. The letterform of the word- nasta’liq makes an appearance in a few of his works. The word stands as a metaphor for his fluctuating feelings towards the past and the sense of discontentment with the inadequacy of the present.

Heech (Nothing), 1972, Parviz Tanavoli. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Heech (Nothing), 1972, Parviz Tanavoli. Image Credit: http://asiasociety.org/new-york/exhibitions/iran-modern#!artworks

Some of the many other artists in this exhibition include: Siah Armajani, Charles Hossein Zenderoudi, Nicky Nodjoumi, Faramarz Pilaram and Behjat Sadr.

The exhibition will be on view from September 6th 2013 to January 5th 2014.

For more information, please click here.