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.

An Evening with Krishen Khanna

Vidhita Raina reports on Krishen Khanna’s lecture on “The Progressives” at London’s Courtauld Institute

Krishen Khanna (centre), Prof. Deborah Swallow (right) and Zehra Jumabhoy (left). Credits: Grosvenor Gallery, London.

Krishen Khanna (centre), Prof. Deborah Swallow (right) and Zehra Jumabhoy (left). Credits: Grosvenor Gallery, London.

“Is the artist only interested in being a unique individual? If I had considered my work to be unique, then I would have continued trying to be unique… and that is not what art is about,” said Krishen Khanna at a talk held at the Courtauld Institute of Art in London on June 8, 2015. This sagacious insight into his artistic motivations was one of the many gemstones that Khanna—a leading Indian Modernist painter—showered upon a rapt audience, eager in attendance to witness one of the stalwarts of Indian art reminiscing about its heydays.

With Deborah Swallow and Zehra Jumabhoy from the Courtauld Institute, and Conor Macklin from Grosvenor Gallery also on the panel, this debate was conducted as part of the “Contemporaneity in South Asian Art” seminar series.

The symposium was full of anecdotes as Khanna brought out his personal archive of letters exchanged between him and his many associates. Khanna’s nostalgic stories about his Bombay Progressive peers were unequivocally the highlights; particularly those involving his erstwhile roommate and one of the most celebrated Indian artists, the late Maqbool Fida Husain. It is common knowledge that Husain introduced Khanna into the Bombay Progressive Artists’ Group (or “PAG”, as they were generally called). But the evening revealed one more nugget of information—Husain, during one of his visits to Khanna’s then home in Churchgate, Mumbai, borrowed his copy of the English art critic Clive Bell’s 1914 seminal text Art, only to eventually lose it. This incident, according to Khanna, was a result of “certain forces which operate at the right time”.

Khanna’s association with the PAG, which was formed right on the heels of India’s independence in 1947, led to several accomplishments in his trajectory as an artist. He held major exhibitions in Mumbai and New Delhi in the late ’50s. The Tata Institute of Fundamental Research showed great interest in his work, and its founding director—the esteemed nuclear physicist Dr. Homi Bhabha—bought his very first painting. In 1960, Khanna had his first solo show with Leicester Galleries of London. Here Khanna drew upon a letter written by renowned British art historian, Sir Kenneth Clark, gloriously calling one of his major abstract artworks a “masterpiece”.

Khanna spoke at length about Francis Newton Souza’s role as the driving force behind the PAG, including calling the group as “Progressives”. However, the term was subsequently dropped as many of its members—which also included artists like S.H. Raza, Akbar Padamsee, Tyeb Mehta, V.S. Gaitonde, Ram Kumar, K.H. Ara, among others—felt that it had political connotations. It was a suggestion that rankled with Khanna, as the PAG never saw itself as a political group.

But even as the PAG was beginning to emerge as a new wave of artists in post-independent India unfettered by their political climate—and dissociating themselves from the nationalist spirit of the preceding Bengal School artists in the process—their art, Khanna’s in particular, couldn’t avoid resonating with social, economic and political undertones of a changing nation state.

Born in the city of Lyallpur (now Faisalabad of modern day Pakistan) in 1925, Khanna was, and is, no stranger to political turmoil. Following the Partition of India in 1947, his family moved to Shimla in northern India. Khanna himself accepted a job at Grindlays Bank in Bombay, a position he would hold for 14 years, before finally resigning to focus on his art completely.

Krishen Khanna on the 'Progressives' at the Kenneth Clark Lecture Theatre, The Courtauld Institute of Art. Credits: Grosvenor Gallery, London.

Krishen Khanna on the ‘Progressives’ at the Kenneth Clark Lecture Theatre, The Courtauld Institute of Art. Credits: Grosvenor Gallery, London.

A self-taught artist, Khanna created works that showed a strong preoccupation with the historical background of his time. For him, the humanistic element in a painting was a paramount. Khanna was deeply concerned with the condition of the individual. It’s an artistic anxiety highly evident in his paintings of tired workers piled in trucks, dhaba owners in twilight moments, and the uniformed “bandwallas”—the last vestiges of long-dead British imperial legacy. In her biography Krishen Khanna: The Embrace of Love, critic Gayatri Sinha has said: “the paintings constitute a powerful psychological engagement, one that also serves as a document of the passage of time in modern India.”

Another aspect of the debate, raised by Conor Macklin and Zehra Jumabhoy, was India’s relationship with Britain, and the impact of the European Avant-garde Movement on the PAG. Just as the modern art of Europe rose from the trenches of the World War I, the trauma resulting from the Partition of India also stimulated a new language of art production in its wake. In an effort to locate a new identity and language for Indian art, many of the modern artists such as Souza, Raza, and Padamsee—having studied or spent time in Paris—inevitably found themselves looking towards Western styles of art.

Khanna himself was a well-travelled and worldly artist: he was the first Indian painter to be awarded the Rockefeller Fellowship by New York’s prestigious Rockefeller Foundation in1962. As part of this fellowship, Khanna spent time in Japan where he found inspiration in the Sumi-e (Suibokuga) calligraphic style of paintings, practiced by Zen Buddhists during the 14th century. This led to a number of experiments in abstraction during the ’60s and ’70s, which Khanna reflected upon as “a series of events which formulate or assist in formulating the kind of action you have to take”. In the following year, he was invited as the artist-in-residence at the American University, Washington D.C., and exhibited at various museums and galleries throughout the United States.

Besides being a riveting trip down memory lane, the symposium was mainly a precursor to Krishen Khanna’s ongoing retrospective at the Grosvenor Gallery titled “when the band began to play he packed up his troubles and marched away”. A certain homage was paid to the presence of the seminar being held at the Kenneth Clark lecture theatre, named after the eponymous art historian and an old associate of the artist.

Khanna’s talk was one for the history books—significant moments during the early Indian Modernist phase were brought up, including when artist Bal Chhabda opened Gallery 59. It was Mumbai’s first, short-lived art gallery to showcase artworks by the PAG members in 1959. The group may be long gone, but they left an undeniable legacy for India and the world to treasure.

India in All its Glory in Husain’s Paintings at the V&A

Audrey Bounaix takes you through India’s 3000-year history in eight triptychs by Husain

Back in the 1980s, the Victoria and Albert Museum had acquired two sets of lithographs by Maqbool Fida Husain. This time, they’ve set up a room to house his painted triptychs. Eight large panels on view from 28 May – 24 July 2014, offer viewers—especially those new to Indian art—a chance to interpret India in its myriad traditions. As someone with a deeply rooted interest in Bollywood cinema hoardings, I jumped at the occasion thinking that Husain’s monumental triptychs would be in the same vein as his early billboard paintings. My visit to the V&A convinced me otherwise. It had nothing to do with the glamorous cinema world, but instead illustrated the richness of India’s history. We sense reminiscences of his early work freely inspired by photography; Husain is no longer roaming the streets of Madras to capture street imagery, but roaming through Indian history in order to translate as closely as possible its richness. This manifests metaphorically in the art on display. It was meant to be on a grander scale; the artist was still working on the project at the time of his death and originally envisaged a series of 96 panels for Mrs Usha Mittal who commissioned it in 2008.

I was first plunged into darkness as I stepped into the V&A room, but a brightly-painted Ganesha then welcomed me. As if I was performing the traditional pradakshina—or, to use an approximate translation, circumambulate a Hindu templethe display transported me to a similar spiritual mindset. The dynamic representation of Ganesha is accompanied by a curvaceous female form similar to the terra cotta modelling produced during the Indus Valley Civilization (3300–1300 BCE).

M.F. Husain, Ganesha, 2008. Courtesy of Usha Mittal,  © Victoria and Albert Museum, London

M.F. Husain, Ganesha, 2008. Courtesy of Usha Mittal,
© Victoria and Albert Museum, London

This painting is significant in setting a new benchmark through its representation of Indian cultural heritage through eight triptychs. The scale allows for the narrative to move and inspire viewers. The first triptych is titled Three Dynasties, and explores Indian history through three different rulers. Among them, two are foreigners and assume the left and right panels, whereas the Maurya reign is in the centre with its famous Ashoka pillar erected under Emperor Ashoka’s rule. The four-headed lion facing the four main directions is replaced by a real one here. Husain also added what seems to be a seal representing Buddha’s Enlightenment, to recall Ashoka’s renouncement of the world and adoption of Buddhism. Mixing the time and forms, the artist is playing with timeless symbols. In the right panel, he has pared down the time of British Raj to medal-laden British dignitaries with imperceptible features. Queen Victoria is enthroned in a neo-classical pavilion, and Mahatma Gandhi and a Rolls Royce also figure in this panel. Husain’s aim is not to depict historic events as they happened but more to give us an idea through symbols that encapsulate the stakes of Indian history.

M.F. Husain, Three Dynasties, 2008-2011. Courtesy of Usha Mittal, © Victoria and Albert Museum, London

M.F. Husain, Three Dynasties, 2008-2011.
Courtesy of Usha Mittal, © Victoria and Albert Museum, London

Another triptych full of details and references, so much so that it will make you smile once you decipher them, is titled Tale of Three Cities. Here again, the middle panel seems to hold a special significance and Varanasi, city of spirituality, holds this privileged place. Delhi is on the left, while Rabindranath Tagore, Subashchandra Bose, Satyajit Ray and Mother Theresa all figure in Kolkata’s panel in a patchwork’s assemblage, where only the Indian nationalist is given recognisable features . Even though the faces are left without features, symbols are recognised at first sight since they are reduced to their essential attributes. Colours are used for some clarity purposes to delineate the different parts and persons. Strokes of warm paint alternate with shadows to create volume. Husain’s genius lies in his mix of forms and ideas which trigger an immediate sense of identity.

Husain has always believed that Indian culture is not fundamentally Islamic or Hindu, but secular. In Traditional Indian Festivals and Indian Householders, he takes the viewer through a composite culture that has evolved over centuries. The glimpse into the homes of Hindu, Sikh and Muslim families is specified by an aim “to tell a true story of our common people”. In light of his commentaries, the Singer sewing machine, a Hindu journal, an umbrella, a bicycle, the Coran, a Siva Nataraja statue, a hukka, a calendar poster of Govind Singh are stressed as common objects characterising people more than their religion does. Husain attempts to attach himself to reality by portraying his family from memory, the Nanboodri family of Madurai, and Sardarji Bunta Singh of Ludhiana, but the faces and expressions remain obscure. Though on the surface it tells us to assimilate ourselves with families going about their daily life, the underlying theme is of unity which resonates with Husain’s own beliefs.

M.F. Husain, Indian Households, 2008-2011.  Courtesy of Usha Mittal © Victoria and Albert Museum, London

M.F. Husain, Indian Households, 2008-2011.
Courtesy of Usha Mittal © Victoria and Albert Museum, London

Husain’s sensitivity to history is evident in his picturisation of Rabindranath Tagore’s quote: “How the language of stone surpasses the language of man”. In Language of Stone, he chooses to pay a tribute to the rich South Asian lithic heritage. As before in Tale of Three Cities, the statuesque figure of the poet is represented in dark shades while Husain uses warm colours for art objects. He makes reference to the Indus Valley Civilization with the insertion just under the epitaph of The Priest with Trefoil Drape, a masterpiece ranged between 2500-1500 B.C. and preserved today at the National Museum of Karachi. With the Qutub Minar painted in a low-angle shot, a 10th century high-relief from Khajuraho and a wheel from the 13th century Surya Temple, Husain opts for pre-historical or medieval Indian sculptures. Even if there is no Buddha with gentle modelling forms typical from the Gupta Age, I have to say that Husain knows how to pump energy in objects that are inherently statics.

M.F. Husain, Language of Stone, 2008-2011. Courtesy of Usha Mittal © Victoria and Albert Museum, London

M.F. Husain, Language of Stone, 2008-2011.
Courtesy of Usha Mittal © Victoria and Albert Museum, London

 

Priest King with Trefoil Drape, Mohenjo-daro, Indus Valley Civilization (3300-1300 B.C).  National Museum of Pakistan,  Karachi. PhotoCourtesy: http://www.harappa.com/indus/41.html

Priest King with Trefoil Drape, Mohenjo-daro, Indus Valley Civilization (3300-1300 B.C).
National Museum of Pakistan, Karachi.
PhotoCourtesy: http://www.harappa.com/indus/41.html

The same frenetic energy is seen in Modes of Transport, where Husain presents the multiple journeys of India’s citizens as a metaphor for the journey of life. His impressions of India’s history, religion and everyday living are translated through strokes of vibrant colours and superimpositions of ideas and symbols.

Husain’s journey through Indian history is completed through another medium: film. His early cinematic experiment—a 1967 film documentary—translates his impressions of Rajasthan in a very aesthetic way. This freely inspired work filming a shoe, an umbrella and a lantern in a close-up, does not remain extraneous to the triptych series. It intersperses countryside, faces and objects in the same way symbols are isolated in his paintings.

This exhibition is a prompt to travel. More importantly, entry is free to the public. Husain’s images are powerful and vivacious, and that’s enough incentive to drop by to view these works.

Your E-Pocket Guide to Exhibitions This June

The folks at Saffronart have put together a compact list of art events in Mumbai, Delhi, London and New York. All you need is a fully-charged phone to guide you and enough money if you’ve got travel plans.

There’s a lot happening in the South Asian art world that shouldn’t be missed. We’ve got it mapped for you, so head out and start taking it all in, beginning with…

Mumbai

Meera Devidayal: A Terrible Beauty, at Gallery Chemould Source: http://www.gallerychemould.com/exhibitions-works/a-terrible-beauty-meera-devidayal-chemould-prescott-road-art-mumbai-exhibition-mill-photograph-video-2014-cricket/Untitled_Painting.html

From the exhibition Meera Devidayal: A Terrible Beauty, at Gallery Chemould
Source: Gallery Chemould Website


Waswo X. Waswo: Sleeping Through the Museum
Where:  Sakshi Art Gallery, Colaba
On View Till: June 21, 2014

Has the title of the show piqued your interest yet? Udaipur based American artist Waswo X. Waswo simulates a museum in this solo show through numerous “artifacts” and photographs arranged to replicate the look and feel of one. On a deeper level, it questions the act of preserving and displaying such pieces as perpetuators of culture and heritage. For folks hanging out at SoBo and looking to do more than just kill time, head to Sakshi Art Gallery between 11am and 6pm, except on Sundays when they’re closed.

Amrita Sher-Gil: The Passionate Quest
Where:
National Gallery of Modern Art, Mumbai
On View Till:
June 30, 2014

Commemorating the birthday of the well-renowned late artist Amrita Sher-gil, this exhibition curated by art historian Yashodhara Dalmia presents a range of her oeuvre including works depicting her life in Paris, nude studies, still-life studies and portraits of her friends and her fellow students. Sher-gil, who is also recognized as India’s own Frida Kahlo, has been the youngest and only Indian artist to be elected as an Associate of the Grand Salon in Paris. The exhibition also includes her photographs, and original letters. A must-visit show for art enthusiasts in the city.

A Terrible Beauty
Where:
Gallery Chemould, Mumbai
On View Till:
July 9, 2014

This exhibition includes works by Delhi-based artist Meera Devidayal who has adopted the theme of the dilapidated mills of Mumbai and their future as the subject for her works. Her unique style and extremely sight-specific theme make this a show that is bound to make viewers not just appreciate the aesthetics of the works but also ponder about the future of the mills.

Figures of Speech: Using the Written Word in Contemporary Art
Where: Four Seasons Hotel, Mumbai
On View Till: July 15, 2014

Exploring the relationship between words and images, this exhibition features the works of contemporary artists such as N. Ramachandran, Bhavna Sonawane, Brinda Miller and Rajesh Patil among others. Of course, you can combine a visit to this exhibition with a meal or a coffee at the Four Seasons Hotel to make for a lovely afternoon or evening.

Walk the Line with Sudhir Patwardhan
Where:
Jehangir Nicholson Gallery, Kala Ghoda, Mumbai
Walkthrough:
Wednesday 11th June, 5 – 6:30 pm
On View Till: August 30, 2014

If the ongoing exhibition, “Taking the Line for a Walk” at the Jehangir Nicholson Gallery already doesn’t sound exciting enough to visit, the idea of being walked through it with contemporary artist Sudhir Patwardhan himself certainly makes it hard to miss. The exhibition showcases 45 drawings by well-acclaimed artists such as Tyeb Mehta, Akbar Padamsee, F.N. Souza, S.H. Raza, Laxman Shreshtha, Manjit Bawa and Sudhir Patwardhan. A message especially for the drawing enthusiasts out there: don’t miss this event!

 

Delhi

Raj Rewal:  “Memory, Metaphor and Meaning in his Constructed Landscape”  at NGMA, Delhi Source: caravanmagazine.in

From the exhibition Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape”, at NGMA, Delhi
Source: caravanmagazine.in

Kaleidoscope: Group Art Show
Where: Chawla Art Gallery, Delhi
On View Till: June 14, 2014 

This group exhibition shows some of the finest works of contemporary artists such Asit Kumar Patnaik, Bharat Bhushan Singh, Farhad Hussain, Jayasri Burman, K.S. Radhakrishnan, Ramesh Gorjala, Satish Gujral, Shipra Bhattacharya, Surya Prakash, Thota Vaikuntam, Tapas Sarkar and Manu Parekh. Having works by so many artists under one roof makes for an interesting variety of styles and themes. There is bound to be something that catches the eye of every individual view!

Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape”
Where: National Gallery of Modern Art, New Delhi
On View Till:
June 15, 2014

This is a retrospective show of the works of Raj Rewal, one of India’s finest architects. Known for several iconic buildings in India and abroad, his works have also been showcased at famous museums abroad such as the Pompidou Centre in Paris. Looking at architecture as a visual art allows for a unique experience for many viewers who may otherwise overlook the artistic element in buildings, which are typically judged by their functionality.

Identity Control
Where: Vadehra Art Gallery, Delhi
On View Till:
June 17, 2014

This exhibition features works that deal with “notions of policing, tracking, security, immigration, loss of individuality and rebellion, all of which are issues that affect us in more than one level.” Considering the different perspectives and approaches of leading contemporary artists such as Shilpa Gupta, Jitish Kallat, Karthik KG, Rafael Lozano-Hemmer, Natalia Ludmila, Armando Miguelez, should allow you to gain an extensive view of the complexities surrounding one’s identity.

Degenerate
Where: VadehraArt Gallery, Delhi
On View Till:
June 17, 2014

Featuring the works of contemporary artists such as Atul Bhalla, Ruby Chishti, Minal Damani, Jagannath Panda, Ashim Purkayastha and B. Ajay Sharma, this exhibition focuses on the different facets of Indian urban life in contemporary times. Combine a visit to this show with the ‘Identity Control’ exhibition, taking place in the same gallery!


London

M.F. Husain, Ganesha, 2008 from the exhibition M.F. Husain: Master of Modern Indian Painting at the Victoria and Albert Museum, London Source: http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/

From the exhibition M.F. Husain: Master of Modern Indian Painting, at the Victoria and Albert Museum, London
Source: http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/

S.H. Raza: Pyaas
Where:
Grosvenor Gallery
On View Till:
June 14, 2014

What would you say to being in London in summer for an exhibition of paintings by one of India’s most revered Modern artists? If it isn’t a whoop and a jump (or an acknowledging smile for the more poised amongst you), we can only surmise you don’t have a visa to make the trip. The exhibition ‘S.H. Raza: Pyaas’ is just the thing for art enthusiasts—it intends to display the development and range of styles in which Raza has depicted his characteristic subject matter in recent times. The paintings contain a great deal of vigour, vibrancy and a strong connection to India and its religious heritage.

Art Antiques London
Where:
Kensington Gardens opposite the Royal Albert Hall
On View: June 12 – 18, 2014, 11am onwards

‘The most important Asian sales of the year will be held in London during this annual event.’ —BBC Homes & Antiques Magazine

‘Asian Art in London is a brilliantly conceived celebration of Asian Art and has made London the undisputed Asian Art capital of the world.’ — Essential London Magazine

Accolades alone won’t do it, so hear it from us. Asian Art London has grown to become a highly prestigious art fair dealing in antiques and art, bringing together renowned dealers, collectors and enthusiasts. It is a one-of-a-kind opportunity to procure beautiful and rare items in antique and contemporary Asian art. Among participating galleries from London and Paris, Galerie Christophe Hioco is one to look out for. Crowning this is its convenient location opposite the Royal Albert Hall, against the backdrop of the verdant Kensington Gardens—you certainly can’t say no to that!

Olivia Fraser: Subtle Bodies Exhibition
Where: Grosvenor Gallery
On View Till: June 21, 2014

India’s art traditions draw the internationally-acclaimed artist Olivia Fraser to reference it in her works, and her latest paintings attest to this. Having lived in India for the last ten years, Fraser’s work reflects a grasp of Indian traditional iconography, but used to express sensations of a meditative process. ‘Subtle Bodies’ displays a mix of paintings on hand-made paper and limited-edition prints prepared during the last few years and the work announces Fraser’s emergence. The incredible blend of east and west, traditional, and contemporary for the new exhibition is a direct reflection of Fraser’s ideology.

M.F. Husain: Master of Modern Indian Painting
Where: Victoria & Albert Museum, South Kensington
On View Till: July 27, 2014

Seems like there’s no end to exhibitions featuring South Asian art in Central London. Head to the V&A for a sumptuous collection of paintings by Maqbool Fida Husain (1915-2011). A member of the Bombay Progressives, he was famed for his freehand drawing and vibrant colours and was among India’s pioneering Modern artists. The eight painted triptychs on display illustrate Indian civilization and were commissioned in 2008 by Mrs Usha Mittal as a tribute to the richness of India’s history. The artist was still working on the project at the time of his death and originally envisaged a series of 96 panels. History and religion feature in a feisty splurge of colours and expression—be sure to not miss out on this one!


New York

Sadequain  UNTITLED, RED BRACELET, 1980s from the exhibition Sadequain: A Retrospective at Aicon Gallery, New York Source: http://www.aicongallery.com/exhibitions/2014-06-12_sadequain-a-retrospective/?page=2#/images/20/

From the exhibition Sadequain: A Retrospective at Aicon Gallery, New York
Source: http://www.aicongallery.com/exhibitions/2014-06-12_sadequain-a-retrospective/?page=2#/images/20/

Sadequain: A Retrospective
Where:
Aicon Gallery, New York
On View: June 12 – July 12, 2014

When the Moderns were earning a name in India, Sadequain Naqqash carved his path to fame and later came to be known as a pioneering Pakistani artist in his country and the world. He came from a family of scribes and the background served him well: Sadequain came to be recognised as Pakistan’s foremost calligrapher and painter and is credited with the renaissance of Islamic calligraphy in Pakistan. His vocabulary developed through a mingling of Eastern and Western artistic traditions, as well as Hindu and Muslim ideology. Aicon Gallery hosts a collection of 24 works from the 1960s to the ’80s that trace the trajectory of his artistic development.

Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century
Where:
Metropolitan Museum of Art
On View Till: July 27, 2014

This monumental exhibit is the first of its kind and scale to bring together works on loan from South East Asia’s distinguished national collections, showcasing sculptural art produced in the earliest kingdoms of the Southeast Asian region. The Lost Kingdom features some 160 sculptures representing distinct Hindu and Buddhist cultural groups that flourished in the Southeast Asian region, that has been out of view owing to the shadow of time. Epigraphic efforts of the 20th century brought to the fore the cultural practices and remains of the Pyu, Funan, Zhenla, Champa, Dvāravatī, Kedah, and Śrīvijaya groups, which date back to many centuries. The art works highlight the influence and local amalgamation of Indic culture in regional belief systems and practices. It is interesting to see popular deities from India being depicted in a different avatar by these regional patrons. Many of the works have never travelled outside their source countries before providing visitors an opportunity to view works they may not have access to easily.

SxSE: Selections from the Asia Society Museum Collection
Where:
The Asia Society Museum
On View: June 17 – August 3, 2014

Don’t miss out on this selection of video artworks which will be on display at the Asia Society Museum, starting June 17. It features works since 2000 by South and Southeast Asian artists that highlight current artistic trends in the region, with a special focus on disparities between globalisation, modernisation, urbanisation and tradition.

For the insatiable among you, we have an events listing page that is updated each month. Be sure to drop by regularly for updates.

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