2 Artists and a Distinct Friendship

F N Souza and M F Husain were integral members of the Bombay Progressive Artists’ Group and had their own distinct styles. We look at their unique and long-lasting friendship through a painting that goes on auction in the Evening Sale next week.

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5 Record Breaking Masterpieces of Indian Art

In the run-up to our leading annual auction in New Delhi, we look at five works of art that have touched new heights with their record prices at Saffronart auctions, and changed the market for Indian art.

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Two of a Kind: F N Souza and Lancelot Ribeiro

F N Souza, the “enfant terrible” of modern Indian art, hardly needs an introduction. His less known half-brother, Lancelot Ribeiro, might. As two paintings from important phases in their artistic careers go on auction in June, we look at intersections in their life and art.

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Retracing Ribeiro

Guest contributor Ananya Mukhopadhyay reviews Indian modernist Lancelot Ribeiro’s London exhibition

An exhibition at the Burgh House & Hampstead Museum in London marks the beginning of a year-long programme of events to explore and celebrate the work of the late Indian painter Lancelot Ribeiro. As part of the 2017 UK-India Year of Culture, Retracing Ribeiro is a Heritage Lottery-funded project which will examine the artist’s vibrant and often understudied oeuvre through a series of exhibitions and talks.

Having first travelled to the UK in 1950 to study accounting, Ribeiro quickly became disenchanted with both the London weather and his chosen vocation. While living in London Ribeiro acted as studio assistant to his half-brother, Francis Newton Souza, and also started to create his own works. He eventually abandoned his accountancy course and enrolled in St. Martin’s School of Art. Shortly after his graduation however, the artist was required to leave London for his National Service in the Royal Air Force, somewhat interrupting his artistic development. Following his discharge, Ribeiro returned to India and held several successful solo exhibitions before returning to England in mid-1962.

untitled-blue-and-green-landscape-1961Untitled (Blue and Green Landscape), 1961
Image courtesy Grosvenor Gallery

Renowned gallerist Nicholas Treadwell was to be a great champion of the Indian artists who had settled in post-war London, selling their work door-to-door from his furniture van-cum-gallery space. As part of Asian Art in London 2016, Treadwell gave a talk at the British Museum recalling his dealings with Ribeiro and contemporaries Bakre and Souza as he trundled up and down the country in his mobile gallery. All three artists featured in Grosvenor Gallery’s show Indian Modernist Landscapes 1950-1970: Bakre, Ribeiro, Souza, on view 3 – 12 November at 32 St. James’s Street, London.

rib-untitled-white-landscape-1964Untitled (Red Landscape with Dome), 1966
Image courtesy Grosvenor Gallery

Retracing Ribeiro is a chance to experience the extraordinary range of painterly styles practiced by the late modernist, from rare, naturalistic watercolours of Hampstead Heath, to expressionistic Goan landscapes punctuated with the spires and domes of his childhood. The artist’s pioneering use of PVA mixed with fabric dyes in the early 1960s presaged the widespread uptake of acrylic paints in the years that followed, a feat with which Ribeiro is rarely credited. His careful oil compositions have equally received little attention, in spite of their enduring vibrancy and strength of expression.

The Retracing Ribeiro exhibition will be on view at Burgh House & Hampstead Museum until 19 March 2017, while a heritage display from the Ribeiro archive will be on show at the Camden Local Studies and Archives Centre from 6 February 2017 – 31 March 2017. Forthcoming events include talks by David Buckman, author of Lancelot Ribeiro: An Artist in India and Europe, and an evening of lectures and music at the Victoria & Albert Museum early next year. For more information and a full calendar of events, visit www.lanceribeiro.co.uk/news.htm.

Frieze London 2013

Ambika Rajgopal of Saffronart looks at the 2013 edition of Frieze Art Fair and Frieze Masters.

London: With the onset of the British winter, as the trees of Regent’s Park shed their foliage to assume a structural minimalism, another edition of Frieze draws to a close. Running in its eleventh year, Frieze Art Fair is a conglomerate of art, artists, curators, galleries, collectors, dealers and critics who have a common affinity for art of the contemporary sort. Its younger sister fair, Frieze Masters, now in its second year is just as grand and deals with ancient to modern art.

Frieze Art Fair exterior, 2013. Image Credit: http://www.londonbb.com/frieze-art-fair-london/

Frieze Art Fair exterior, 2013. Image Credit: http://www.londonbb.com/frieze-art-fair-london/

I was fortunate enough to attend Frieze both in 2012 as well as in 2013 and the change within the two years was quite apparent. This year Frieze Art Fair condensed their number of exhibitors from 175 to 150, a move that reinforces Frieze’s emphasis on quality over quantity. Additionally the architectural design was also opened up to reveal a new entrance, floor, a revised gallery grid and a mezzanine café area, rather than the claustrophobic labyrinth of corridors from previous years.

This year the participation of South Asian galleries was lesser than last year, even though South Asian artists were well represented by international galleries. Project 88, the only Indian gallery to participate, has been at the helm of promoting cutting edge contemporary art in Bombay, India. This year Project 88 featured the works of Neha Choksi, Raqs Media Collective, Rohini Devasher, Sarnath Banerjee, Somnath Hore and The Otolith Group.

Choksi, now a regular name in the Frieze line up, concerns herself with the search for various forms of absences. She approaches and represents this absence by appealing to the presence of forms. In Houseplant and Sun Quotation, Choksi correlated the mechanized process of photography to the living process of the plant, both processes necessitated by the presence of light. She placed plants near paper that has been photo chemically treated with palladium salts, so as to expose the non-shadow part of the paper. The resultant effect was that the absence of the plant on the palladium paper was represented through a negative presence of the shadow form. The Burst series featured two ceramic sculptural forms or anti forms, if you will, that adopted absence and suspension in order to initiate her ideas of solitariness and expiry.

Forthcoming Titles, 2012, Raqs Media Collective. Image Credit: http://www.project88.in/individual-work.php?artfair=ARFR0020&workid=9

Forthcoming Titles, 2012, Raqs Media Collective. Image Credit: http://www.project88.in/individual-work.php?artfair=ARFR0020&workid=9

In Forthcoming Titles through referential comparison between influential authors in the canon of Marxism, Raqs Media Collective’s carefully displayed wall mounted library managed to resonate a faux seriousness only to be broken by the anagrammed names of the authors. Rosa Luxemburg, a Marxist revolutionary and a figure who has actively influenced Raqs own collective consciousness, became Luxme Sorabgur.

Sarnath Banerjee’s new series of drawings was replete with the caricatural humour that Banerjee is synonymous with. He made light of contemporary Indian society through symbolic representations and diagrammatic visual depictions.

Trotskyites Anonymous, 2013, Sarnath Banerjee. Image Credit: http://friezelondon.com/exhibitors/exhibit/5393/3942

Trotskyites Anonymous, 2013, Sarnath Banerjee. Image Credit: http://friezelondon.com/exhibitors/exhibit/5393/3942

Rohini Devasher’s paper work involved prints of satellite images of the Indian Astronomical Observatory and the surrounding landscape at Hanle, Ladakh, superimposed with drawings. Her project was an investigation of these mythic terrains where fiction blurs the boundaries of what is real and imagined. It was a process of converting the familiarity of geography into one of strange hybridization. The other artists on display at Project 88 were Somnath Hore and the Otolith Group with their newest video essay People to be Resembling.

Dubai based Grey Noise featured the works of Pakistani artist Mehreen Murtaza. Murtaza’s stylistic visual narrative consists of an amalgam of Sufi cultural imagery along with the futurism of science fiction. This odd juxtaposition enables science to question and reexamine religion, myth and superstition. While adopting the critical point of view of Western rationalism, Murtaza does not stray away from the Islamic historical heritage and thus her work operates in a realm where mystical ideas of spirituality synchronize with scientific theories.

Solstice, 2013, Mehreen Murtaza. Image Credit: http://friezelondon.com/exhibitors/exhibit/5498/3637

Solstice, 2013, Mehreen Murtaza. Image Credit: http://friezelondon.com/exhibitors/exhibit/5498/3637

In Transmission From A Missing Satellite, Murtaza payed homage to Dr Abdus Salam, a Pakistani theoretical physicist, who went on to win the Nobel Prize in Physics in 1979. Though Salam’s contribution to the field of science was remarkable, the memory of the man is tainted by prejudice due to his minority Ahmadi background. The work presented an assemblage of clues such as loose letters, telegrams and even a floating stone reminiscent of the Floating Stone of Jerusalem at the Dome of Rock. Through these artifacts Murtaza used artistic approaches to visualize the adventures in quantum immortality.

I was you, 2013, Aisha Khalid. Image Credit: http://friezelondon.com/exhibitors/exhibit/5424/4225

I was you, 2013, Aisha Khalid. Image Credit: http://friezelondon.com/exhibitors/exhibit/5424/4225

The other South Asian artists on display were Imran Qureshi and Aisha Khalid at the London based gallery Corvi Mora. Dayanita Singh also displayed her work at Frith Street Gallery. Singh also has a solo show Go Away Closer on display at the Haywards Gallery, Southbank Center till the 15th of December 2013.

In the other side of the park at Frieze Masters, the environment was quieter and less frenetic than it is in Frieze Art Fair. Whilst the older contemporary fair attracted a fair share of curious onlookers who come to marvel at the trends in contemporary art, Frieze Masters took on a more discerning vibe. The lighting was softer, public area was carpeted and the artworks were more traditional.

Untitled (Landscape), 1965, F. N. Souza. Image Credit: http://grosvenorgallery.com/art-fairs/current-art-fairs/frieze-masters/

Untitled (Landscape), 1965, F. N. Souza. Image Credit: http://grosvenorgallery.com/art-fairs/current-art-fairs/frieze-masters/

Grosvenor Gallery’s debut at the Frieze Masters featured a selection of Black on Black Paintings by Francis Newton Souza. This appearance at Frieze coincided with their current exhibition, F.N Souza: Black on Black Paintings on view till 28th October. The exhibition follow the legacy of Souza’s 1966 show Black Art and Other Paintings at Grosvenor Gallery where he presented a series of monochromatic works rendered in thick black impasto oil. Even though the inspiration for Souza’s stylistic turn toward such a dark somber palette is disputed, these works bear reflection to Souza’s state of mind in the 60s.

Difficult and demanding, Souza’s black series is not easy on the eye, but of course that was exactly Souza’s intention. As Toby Treves pointed out, Souza claimed that the visual intensity of his paintings was meant to be a jarring reminder about the visceral consciousness of life. In order for the work to reveal itself, a few moments are required in front of each work. The interplay between the light and the textured brushstrokes, caught by the eye only at a certain angle uncovers a world of forms, textures and worlds inside each canvas.

From the somber monochromes of Souza to the resplendent gleam of the Indian miniature works at Francesca Galloway, Frieze was a complete affair in itself. In conjunction with the fair itself, a host of galleries, museums and artistic institutions opened their doors to patrons by organizing lectures, panel discussions, performances and art projects.

A Scene in a Heaven, Anonymous. Image Credit: http://friezemasters.com/exhibitors/exhibit/5608/4287

A Scene in a Heaven,
Anonymous. Image Credit: http://friezemasters.com/exhibitors/exhibit/5608/4287

My favourite part of Frieze London was actually the Sculpture Park. While most of the public and media attention goes onto the two sister fairs, the Sculpture Park is often the portion of the fair, which has so much to offer. It also provides a nice escape to the bustling fanfare of the tented Frieze Art Fair.  Amidst the rolling greens of Regent’s park’s sculpture half of the fair was Amar Kanwar’s Listening Bench #4 (2013), a part of his The Sovereign Forest exhibition, currently on display at the Yorkshire Sculpture Park. The benches offered visitors a place of quietude and contemplation after the influx of so much sensory stimuli.

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