India Art Fair 2013: A Great Success

Elisabetta Marabotto of Saffronart reflects on an interesting article on the India Art Fair by Girish Shahane

India Art Fair

India Art Fair. Image Credit: http://www.indiaartfair.in/

London: For people who like me sadly could not make it to the India Art Fair 2013, Girish Shahane, Mumbai based art critic and curator, wrote an interesting blog post about the exhibit.

Comparing this edition to last year’s, the author notes that the fair was much clearer on its purposes and better organized. Some international galleries such as Houser and Wirth, Lisson and White Cube preferred not to join the fair again, partly because of the stringent Indian regulations and partly because they found the market underdeveloped. However, this withdrawal was not necessarily a negative move since it opened up space for other galleries such as Daniel Besseiche who was showing Bangladeshi artist Ahmed Shahabuddin and was appreciated by the Indian art lovers.

Shahane pointed out that this year the fair was more accessible to everyone. The subject matter of the exhibited works was more easily recognizable and the colours and visible skills of the artists took over from last year’s conceptual works which were appreciated only by a few. In addition, the occurrence of many galleries in one place was a great time saver for the people looking to purchase artwork but who didn’t want to spend the entire day roaming around Delhi or Mumbai.

Although this year the art fair was made for a wider audience, many events and parallel exhibitions were organized around Delhi for the art experts. A Nasreen Mohamedi Retrospective was held at the Kiran Nadar Museum of Art and other exhibitions at the British Council, IGNCA, National Gallery of Modern Art, Khoj Artist’s Workshop and the Devi Art Foundation.

The only drawback was that the last of the three pavilions at the fair was not as good as as the others, but still managed to attract many lesser-known art dealers.

All in all, the fair has been a great success for the galleries, viewers and the organizers, perhaps a sign that the economy is slowly raising up again.

Click here to read the full Girish Shahane’s blog post.

Folk and Tribal Art: Gond Painting

Josheen Oberoi of Saffronart looks (very briefly) at what constitutes Gond Art

New York: Folk and tribal arts are relatively less exposed forms of narrative Indian art and contain within them a gamut of styles originating from various geographical regions in India; Gond art is one such art form.

Jangarh Singh Shyam
Untitled, 1984
Acrylic on canvas, 55.5 x 32.5 inches
Image courtesy: Saffronart

The term Gond art refers to paintings that emerge from a heterogeneous tribal group called the Gond or Koiture, mostly centered in Madhya Pradesh. Even within the phrase Gond art there is a wide spectrum of artistic styles, primarily connected to distinct painters and their practices. The Indira Gandhi National Centre for the Arts’s (IGNCA) research discusses the cultural roots of the Gonds and also indicates the unifying theme in Gond art – the pervasive presence of nature. Their pantheon of gods are intimately connected to nature and their strong tradition of oral narrative seemingly transfers to their paintings as well.

The first Gond artist to gain national recognition was Jangarh Singh Shyam (who died in 2001), and in fact, the present genre of Gond painting is called Janagarh Kalam after his pioneering style. He was discovered in the 1980s by the late Jagdish Swaminathan, then Director of Bharat Bhawan in Bhopal. Jangarh Singh Shyam was the first artist to paint on paper and canvas instead of directly on earth or walls of the home. The intricacy and control in his dot-based designs is seen in the works of all Gond artists, as are his most common subjects – the tree of life and various animals.

Ram Singh Urveti
Untitled, 2011
55.5 x 45 inches
Image courtesy: Saffronart

The tree of life is also a favourite subject of Ram Singh Urveti and Suresh Kumar Dhruve. Ram Singh Urveti uses a deep colour palette and combines his imagery of trees with a variety of animals, creating a synergy of plants and animals in his work, while Suresh Kumar Dhruve often presents trees almost like a totem pole, erect and still, surrounded by human figures.

Jangarh Singh Shyam’s wife Nankusia Shyam and daughter Japani Shyam are also renowned Gond artists. Their paintings are inhabited by the world of animals, although their individual aesthetics are distinct. Nankusia Shyam often paints animals from her childhood memories or shares her impression of urban culture in the shape of these animals. Japani Shyam, on the other hand, almost seems to capture the eco systems in which animals survive; her works are denser, they are reproductions of the worlds that animals and plants survive in.

Japani Shyam
Untitled, 2011
Acrylic and ink on canvas, 36 x 48 inches
Image courtesy: Saffronart

In Narmada Prasad Tekam’s painting, plants and animals share equal footing; they are not shown as a continuum, as in Jangarh Singh Shyam or Ram Singh Urveti’s work. These detailed works contain everyday creatures, recognizable in their presence.

Narmada Prasad Tekam
Untitled
Acrylic on canvas, 68 x 45 inches
Image courtesy: Saffronart

Durga Bai’s works, which have been widely exhibited in India and abroad, show a dynamism and movement within the picture that is unique to her. Brightly hued, hers are narratives of folk tales and deities, of goddesses remembered.

Durga Bai
Untitled
Acrylic on canvas, 68 x 123 inches
Image courtesy: Saffronart

Dhavat Singh
Tiger Tales 1, 2009
Acrylic and ink on canvas, 67.5 x 47.5 inches
Image courtesy: Saffronart

Dhavat Singh’s Tiger Tales are vivid representations of tigers, their interactions with their surroundings and the folklore that surrounds these majestic animals. Equal parts contemporary and traditional; these are visceral works, extending the parameters of Gond art, as it stands today.

The story telling, the fantastical animals and trees is a thread that runs through the work of Gond artists, rooted in their folk tales and culture. However, each of these artists, as evident in these images, has developed a specific language within these narratives creating a richness of aesthetic forms and styles.

These artists represent only a fraction of practitioners of Gond art. A more extensive list and information is at the IGNCA website.

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