"Layered Meaning "
Curated by Vibhuraj Kapoor
Ten leading Contemporary Artists
Abhijit Pathak
Arunkumar H.G
Himanshu Joshi
Pooja Iranna
Puneet Kaushik
Nilesh Kinkale
Santana Gohain
Smita Kinkale
Sunil Gawde
Vanita Gupta
Date: 9th to 15 th Jan 2024 Time: 11am to 7pm
Venue: Jehangir art gallery
AC -2 , Kala Ghoda, Fort 400 001, Mumbai - India
www.gallerybeyond.in
#jehangirartgallery #vibhurajkappor #gallerybeyond #kalaghodamumbai #mumbaiartweekend
Five artists create mesmerizing, dreamlike world in What is Underneath?, the five artist group known as Urge exhibiting at Nippon Art Gallery through December 12th; refer to things that exist underneath of nature which cannot be explained by conventional means. Each of the artists Santa Rakshit, Shekhar Bhattacharjee, Namrata Sneha, Sumedh Kumar and Jigna Gaudana create a representational world that has been twisted and turned in dreamlike scenes that fill one either with anxiety or sunlit peace. The artists are in uncharacteristic harmony with one another. For starters, they all embrace a saturated palette. Their works representational strangeness, which evokes the unconscious through deliciously skewed illustrations of concepts of things seen and unseen, relates them to Surrealist dream like images.
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| Recent artworks Shekhar Bhattacharjee |
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| Recent artworks Namrata Sneha |
In Namrata Snehas’ painting, twisted and playful compositional elements show her intense relationship to Pop Art and such representational artist as David Hockney. Spring is yet to come is a large and wonderful landscape of an abstracted form that has been distorted by the artist. Made up of nine small canvases measuring one foot by one foot, the wiggly line therefore is the beginning and essence of the painting: a trajectory through space and time. As if this were not enough, Namrata’s paint and color are rich and saturated reds, greens, and yellows as well as blues. It’s an expression of excitement in the discovery of new place and a fresh way of painting and depicting space that is so powerful and engaging. One of the largest paintings in the show, it anchors the canvas with an expansive spring-acid green, punctuated by dots that seem to have been made by placing the mouths of multicolor tubes of paint directly into the negative space of the composition, effectively kissing the canvas. These painterly passages are invented to palpably ground the auras she creates in her canvases. They mix optically over a cracked and milky surface to create a hovering presence in the center of the canvas. It’s the kind of mystical in terms of its formal transformation epiphany that Namrata anticipates throughout her canvas. She employs a wide array of paint applications. In this instance, such a painterly mixed bag helps to phenomenally ground her tree/subjects, and creates equilibrium with the explicit, sometimes illustrative pictorialism of their branching figures. As in her aforementioned dotting technique, Namrata actively embellishes different shifts of focus in her paintings with thick scumbling, translucent washes and dry brush of kaleidoscopic chroma, and dabbing and dripping of thinned oil paints. The assuredness with which she weaves these disparate approaches together into coherent visionary images is impressive. Accordingly, one gets the chance both to witness her transformative visions and to participate in the rituals of their making. Her work deploys a more generalized and perhaps more sober template of twining vegetal daemons similar, though much more brut, to those seen in decorative friezes in classical ornament. This interweaving syntax lends these paintings a compositional unity that can easily support the tension between pictorial symbol and painterly substance that seems to be the artist’s métier.
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| Recent artworks Santa Rakshit |
Santa Rakshits’ Postcards from Post Box, oil on canvas,
series is a lot more abstract than her: thickly painted black lines, outlined
in white, dance around the canvas in an enchanting array of drips and dabs of
various sizes and viscosities that hint at landscape. Representing the
landscape feels urgent now because it’s under threat. According to Santa she
used to attend these visualization meditations where one would be led through
imaginary landscapes, actively using our minds to conjure what was being
described by the trusted leader. One evening a few years ago she had a
particularly vivid sense that the concept of landscape was her own skin, and
there were roots and tubers growing beneath it, swelling and bursting through
the surface. In her vision the earth bled and screamed. ‘I am in mourning, as a
lot of us are, for damaged ecosystems and disappearing animal species.’ As with
the paintings, where her toxic acrylics performed a kind of transubstantiation
her forests are indexical floriations: sinuous strokes are branches; spills can
be glitters of leaves; spray paint, fog; protruding paint-licks, thorns, ticks
or mosquitoes. Santas’ experimental approach to mark-making thick or thin,
macro or micro, tight or loose, brushed, sprayed or sponged goes for both
forests and figures. The precisionist symbolism echo in Santas’ crisp ferns and
fluorescent lepidoptera, scintillating against a nocturne of blue, yellow, red
and black. Santa points out all the ways in which the land is both interpreted
and shaped by the human mind. She talks about the Dutch origin of the word
landscape and how wishful thinking has been embedded in it all along. The word
first appeared in the late sixteenth century, and it meant painting or drawing
a view of natural scenery. If landscape is a framing and representing of
nature, it cements the idea that nature is an invention of the psyche, an
illusion of tame and wild, leisure and threat, life and death. Yet rogue
textures icky drips and thorny bumps interpreting the most beautiful passages
of Kashmiri poet Agha Shahid Ali reminding us that nature, just like art, is a
messy and dangerous concoction.
Recent artworks Jigan Gaudana
These new
paintings by Jigna Gaudana, like her
previous bodies of work, arrive in a headlong rush of invention festooned upon
a canny theme, in this case the female body in nature about the feminist
reckoning with that moribund tradition as well as the post-feminist inversion
of that reckoning the figures themselves can be all but incidental in Jignas’
overgrown miasmas of cactus, wildflowers, whiskery stalks and impenetrable
leafage. A more occult art history comes to mind in these unkempt, unruly
wildernesses, one which begins where the babes-in-the-woods tradition itself,
after giving birth to modernism, withers away. Jignas’ everyday ecstatic
includes luminous beings, spirits of the self whose spare, archaic profiles
float among the flowers. Faces, flowers, birds and weeds are painted with a
kind of folk-art zeal while the cerulean forest behind, solidly modeled then
dematerialized by dancing layers of sprayed pigment, is appealingly contrary in
color, scale and attack. In Grieving Woman, a lone woman in a
classical pose is incised in white against the mottled background like a fading
figure. Jigna, however, putting the brakes on such skillful seduction according
to her restless temperament, encloses this exquisite scene in a dark, seething
knot of numerous cactus plants that branches out of her body as brut as the
figures are delicate. One of the most interesting things about pastoral poetry
is that it is the fantasy of urban poets so fantasies of nature are a
counterpoint to a more urban experience. There is a sense of nostalgia around
that; and as you say, the characters and settings are poetic projections. The
utopian nature experience exits the grasp of the poets’ minds just as it turns
into words. The Stories Within in
many of Jigna’s compositions is centripetally directed, often with a diminution
of form, towards the center of the canvas, which has the effect of a vortex of
maternal origin: a cosmic matrix of regenerative power. Such a symbolically
loaded destination might be read as cliché if it were not for the artist’s
ability to keep the association subliminal, as she does.
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| Recent artworks by Sumedh Kumar |
Sumedh Kumar’s
Blue Smoke Series, drawings in pastel
on handmade paper, are self- portraits that have run amuck into abstraction. His
paintings express a different kind of cross between figuration and abstraction,
more related to the body. Although the forms that fill his paintings are not
figures, they have an anatomical presence that calls up the Surrealists. When
he is painting he is trying to build up irritating problems in layers of color
and texture. He spills, puddles and scumbles to make atmospheres that range
from tarry to luminous while being as emphatic as he can about the radiance and
light sources that don’t follow any logic aside from the logic of paint and the
rules the painting produces within itself. He feels like he is digging for the
scenes, isolating forms to make figures, forms, and a sense of both encrusted
surface and receding space. He knows vaguely what he wants to find, but he is
teasing it out, searching for a story like a diviner reading tea leaves.
Gestures become people; they are part of the swamp of marks that veer into the
realm of things. Mess coheres into specificity and leaks back into mess. He
knows when the painting is done when he thinks it might be breathing. A visual
split in half with an intense blue silhouette of a smoker’s thought and pain
his body feels due to atrocities. A man standing in a parallelogram of blue brushstrokes
with legs tied to the pole, creating a tension that is further complicated by
marks that delineate an architectural space on the painting a tonsured head of
a man and a woman head or a torso not fully articulated by the rounded forms
that fill out the composition. His forms evoke monsters within the body, as in
Medusa, whose snake-like path also reads as a colon. It’s a scene you might see
in pain. The risk of consuming the smoke is parallel to viewing Sumedh’s art;
he creates works that don’t feel safe.
The inventiveness of these five artists’ works, in which they envisage their respective worlds on a small scale, is mesmerizing as they intentionally evoke such symbolism, yet captivating the viewer primarily in muscular, painterly compositions that flex their energies ecstatically outward toward the audience. A description can have the power to prospectively modify experience. To describe or name a previously unacknowledged beauty can amplify its possibility in the future for others; it can dilate the horizon of beauty and hopefully of the imaginable. To assume that experience is shaped by the evolution of our ingenious and unlikely metaphors is also helpful to these artists; it can enhance our motivation and cultivate enabling operational fictions, like freedom and power. We are provided another reason to thicken the dark privacy of feeling into art with What is Underneath?
Abhijeet
Gondkar
November 2023, Mumbai
रंगविलेल्या आकारांतून साधलेली कलाकृती म्हणजे चित्र, अशी चित्राची सर्वसामान्य व्याख्या करता येते. रंगविण्याच्या प्रक्रियेतच चित्र घडले जाते. इंग्रजीतील ‘पेंटीग’ या शब्दाचा अर्थ ‘रंगविण्याच्या क्रिये’पुरताच मर्यादित आहे; पण चित्रकलेच्या क्षेत्रात लेपनाची क्रिया, रंग-कुंचला- भावगर्भ आकृती प्रत्यक्ष शारीर रूप म्हणजे चित्रकृती. कधी ते बहुतांश वस्तुनिष्ठ असते, तर कधी वस्तुनिरपेक्ष अप्रतिरूप आकारातून उदित होते.
साधनांची गुणवत्ता, कलावंताच्या भावजाणिवांचे चित्राकृतीतील प्रतिबिंब इ. सर्व सर्जनप्रक्रियांचा अंतर्भाव ‘पेंटीग’ या संज्ञेमध्ये होतो. चित्राकृतीचा अनुभव घेण्यास काही काळ हा लागतोच., चित्राकृतीचा अनुभव अवकाशसिद्ध आणि कालानुवर्ती असतो. म्हणजे हा अनुभव घेण्यास काही काळ हा लागतोच. परिणती होऊन समतोलन होते. चित्र आणि चित्रकार या बाबतीत मी खुप संवेदनशील विचार करते. कला कलेची आस्था त्यात सृजन शोधणं म्हणून माझं क्युरेटर हे आवडतं काम आहे.
आर्किटेक्ट, चित्रकार शीतल सोनवणे- उगले राहणार नाशिक. गेल्या वर्षभरापासुन. तिच्याशी तिच्या चित्रा बदल आणि तिच्या बदल चर्चा करत आहे. मी एखाद्याला एक व्यक्ती म्हणून खुप तटस्थ पणे पाहते. कोणतीही परिस्थिती ती उत्तम हाताळू शकते.ती तीचे विचारातुन आलेली कलाकृती ह्या तात्रिकं दृष्ट्या कमी जरी असेल तर तो सरावाचा भाग आहे. पण विचाराने आणि तिच्या व्यक्तीषा वागण्याने निर्णय घेण्याने, वेळ देण्याने ही चित्र तीच्या सारखी आहेत. चित्र सृजनात्मक होताना ती कॅनव्हास पुढे विचाराने एकदम नागंडी आहे. आणि तिच्या वृत्ती अतिशय अचुक पणे मांडते. या पुर्ण प्रक्रीयेत मी तीला अनेकदां गोंधळात करू पाहीले, काही नाही तर अनेक विचार व चित्र मी नाकारली, अनेकदा विचारांची देवाण घेवाण केली. ह्यात ती मला ठाम वाटली.
अनेकदा तात्विक वाद झाले. पण तीला मी सुचवलेले बदल स्विकारणे, ऐकणे,समजुन घेणे ही गोष्ट माणसाला उत्कृष्ट करते. खर्या कलाकारा मध्ये माणुसकी असणे माझ्या दृष्टीकोनतुन खुप महत्वाचे आहे. त्यामुळे मी तिच्या चित्राचा स्विकार केला,विचाराचा स्विकार केला आणि आनंद होता कि मनापासून ती तीचे विचार चित्रातून स्पष्टपणे मांडते . तिच्या कलाकृतींमध्ये कविता मध्ये स्त्रियांचे भावविश्व प्रतिबिंबित होते. प्रत्येक पेंटिंगचा आधार ठळक रंगांचे मिश्रण आहेत जे तपशीलात प्रवाही तंत्र तिच्या मधील प्रतिमेत आयुष्यातील घटकांचा उबदारपणा समृद्धपणा त्याचबरोबर असणारी उर्जा स्व :चा शोध शांतता याचे योग्य संतुलन दिसते.
जी पेंटिंगमधून प्रवाही आणि अखंडपणे वाहते. तीचे चित्र बघतान तीच्यातलं कणखरपणा प्रखर खुबीने ती व्यक्त करते. स्वताला चित्रातून माडंताना स्वीकारताना ते फिगर मध्ये उमटतात. तीनं परिश्रमाने स्वताची शैली निर्माण केली आहे. कलेचे वैशिष्ट्य म्हणजे विकसीत करत, त्या कलेत एकरूप होणे तीला सहज जमते. प्रत्येकांच्या जीवनात लपलेले असे ओझे चढ उतार सामाजिक भाव बंधनाचा परिघ असतो. जो प्रत्येकाचा एक सखोल प्रवास असतो ज्यात बुद्धी मन शरीरा नुसार जरी आपण प्रतिमा आणि त्याच्या भावनिक छटा रेखाटताना ज्ञान, ध्येय, मर्यादा याचा समतोल साधत समर्पण असते .जिथे सातत्याने स्व चा ही शोध आपलं अस्तित्व शांतता शोधत असते
शिव शक्तीचा अशं म्हणजे आपली उर्जा याचां सतत शोध सुरू असतो .
ह्यात प्रामुख्याने आपण वेचतचं वेगवेगळे टप्पे गाठतो भुतकाळ आणि भविष्य या पेक्षा वर्तमान शी साधर्म्य साधणारी स्त्री सक्षम क्षमता राखुन शोध घेताना, तीला ब्ररशचा सुरेख वापर कॅनव्हास करताना पाहणं आणि ब्रश स्ट्रोक, आणि तीव्र रंगांचा वापर जे अभिव्यक्तीवादाच्या शैलीचे प्रतीक आहे. रंगयुक्त आकार हे चौकटीत ज्या रीतिपद्धतीने क्षेत्र व्यापतात, परस्परांशी आणि चौकटीशी नाते जोडतात, त्यावरून त्यांचे गुणमूल्य आणि भावगर्भता ठरते. उदा., चित्रित मनुष्याकृतीचा चेहराच चौकटीत दिसावा इतकी ती मोठी आहे, की पूर्णाकृती दिसावी इतकी मोठी, की चौकटीत हरवून गेल्यासारखी वाटावी इतकी लहान आहे; तिची मांडणी आकारांची व्याप्ती व अव्याप्ती सापेक्ष असते. चौकटीत भरलेल्या व्याप्त आकारांच्या तुलनेने उरलेले क्षेत्र अव्याप्त वाटते इतकेच. प्रत्यक्षात मात्र अव्याप्त क्षेत्रालाही काहीएक आकार अव्याप्त क्षेत्र भावनांवर भर देते कलेची सूत्र चित्रकलेतील भावाविष्काराच्या आकलनात अत्यंत उपकारक ठरली आहे. विविध रंगभाव, रंगभार आणि रंगविस्तार एकमेकांवर संस्कार करीत प्रकट होतात. वर्णयुक्त रंग विशुद्ध असल्याने रंगभाव तीव्र उत्कट असतो. तांबडा⟶ तांबडानारिंगी ⟶ नारिंगी ⟶ नारिंगी पांढरा⟶ पांढरा असे भारतीय रंग श्रेणी पेंटींग मध्ये दिसतात.अभिव्यक्तीवाद कलाकाराच्या भावनांचे मनुष्याकृती विषय पुरक चित्रण मिळवण्याचा प्रयत्न करतो. अभिव्यक्तीवादक, यांनी अगदी बरोबर निदर्शनास आणून दिले की अभिव्यक्तीवादामध्ये "अगम्य कल्पना स्वतःला न समजण्याजोग्या स्वरूपात व्यक्त करतात" पेंटिंग्ज आणि ते "अगम्य आणि न समजण्याजोगे" यांना जोडतात. खरं तर, अभिव्यक्तीवाद नेमके तेच करतो, तो कलाकाराला न समजण्याजोग्या स्वरूपात व्यक्त होण्यास मदत करतो ज्याद्वारे तो कलाकृतीचे सार सांगणाऱ्या कलाकाराच्या जगात दर्शकांना पोर्टल करतो. शरीरानुसार मन आणि बुद्धी भिन्न असते, परंतु आत्मा एकच राहतो. ते परम चैतन्य आहे. शक्ती आणि शिव यांचे त्यांच्या अंतिम वास्तव. अस्तित्व हे असीम व्यक्तीशी असलेले व्यक्तीचे नाते म्हणून परिभाषित केले जाऊ शकते.
कलाकृतींमध्ये अभिव्यक्तीवादी शैली आत्मसात करून आशा, उत्साह, एकांत, शांततेची मर्यादा आणि यासारख्या गोष्टी व्यक्त होते. - Text by Heena Sk
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| Artist: Shieital sonawane |
Step into the enchanting world of self-realization through Chitra Reshha.
Since few years, I've been exploring the world of architecture and art, but now I'm taking a bold leap into the realm of poetry and painting with my “Chitra-Reshha” series. I want you to imagine a captivating fusion of heartfelt verses and mesmerizing paintings, all woven together to take you on a profound journey of self-realization. “Chitra-Reshha” is all about celebrating the journey of women, exploring our triumphs, struggles, and everything in between.With my background in architecture, I bring a unique perspective to my artworks, infusing them with an eye-catching blend of form and emotion.“Chitra-Reshha” is a true expression of my soul, embracing the raw beauty of vulnerability and self-discovery. And this journey is keeping my emotions in motion
Artist statement :
My journey as an artist started when I was young child and did not know how to express my feelings. Can fear be expressed? If so then how? In childhood I still remember I chose to express fear in the form of monster. Yes, ‘a monster’ and through this as an innocent child, I told my parents, “if they don’t listen to me”, then he will harm them. This is what I heard of monster in the school. With time things changed and I started taking more interest in drawing. I remember of my drawing being selected and sent to Mauritius for the exhibition. Later, when I was in 8th standard, I won the ‘Bal Kala Ratna Puraskar’. Since then I have been expressing my thoughts in my works. I graduated as an architect but my experiments also have grown with colours and arts over the years. This has always helped me in my profession as an architect also.
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| Shietal Sonavane and jackie Shorff at jehangir art gallery |
After completing degree in architecture B.Arch and years of practice in India; her destiny took her to America. Being born in India, a rich cultural heritage had provided her with tremendous inspiration towards painting art.
During 2014-2016 Shital has explored her two series of paintings named “Legacy of India” and "Narayani Bhaava" a female emotion at America. Her motive was to give audience a chance to learn, respond and feel comfortable with self emotions which are deep in everyone's soul.
Staying in America and understanding all the situations and needs between us and them, Shital felt to initiate her knowledge of art and architecture that is She can do the unification of "Art of Emotion and Heart of Technics" for development of children of our country. So somehow somewhere we can fill the gap of educational upbringing differences between west and us.
Shital’s dream made her to start an Art centre
"a creative kuteer" in 2016 where children explore creative ideas. Children being provided an outlet for their emotions through colors,mud,canvases etc. They confidently throw their thoughts to the world and give them knowledge of universe to open up their eternal range living experience.Since last 3 years Shital has trained more than 500 children for creative vision.
Shital is successfully working in interior and architecture projects at her associate office in Banglore “design centre” to bring society close to heritage,art and culture through conceptual designs and execution.
Shital,as a creative leader and columnist is expressing her thoughts on “Kala,Culture and Mind” at Lokmat Times every week.
A true champion of women empowerment who has been recognised with out-of-box concepts and creative executions,Shital has often cited as an example of hard work and knowledge
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| Show Modarator by Heen SK and Artist Shieital Sonawane _ JAG -Kala Ghoda |
"Chitra-Reshha" exhibition by Shieital Sonawane - Ugale Artist Architect
Date: 21st August to 27th 2023
Time: 11am to 7pm
•Modarator by Heena SK
• Instagram: @chitrareshha
Jehangir Art gallery, 161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001, India.
Art enthusiasts and nature lovers are in for a treat as the Jehangir Art Gallery proudly presents "Whispers of the Wilderness," an exquisite art exhibit by Vinita Sadarangani. The show will take place from 8th to 14th August 2023, between 11 am and 7 pm.
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| Artist: Vinita Sadarangani |
Step into a world where art and nature converge, as Vinita Sadarangani takes you on a mesmerizing journey through her collection of beautiful and reflective artworks. The exhibit promises to transport visitors to the heart of the forest, where trees transform into storytellers, revealing tales of wonder and serenity. Within the enchanting tapestry of this showcase, a profound purpose unfolds, inviting nature enthusiasts to join hands in the noble quest for safeguarding our beloved forests.
Drawing inspiration from the Impressionist movement, Vinita's paintings masterfully blend loose brushwork, vibrant colors, and an impeccable understanding of light and atmosphere. Through a fusion of Impressionism and abstraction, she breaks away from conventional representation, delving into the realm of emotions and interpretations. Each canvas becomes a captivating symphony of colors and shapes, inviting viewers to explore their connections and responses to the artwork.
Through her paintings, Vinita aspires to create a sanctuary of emotions, where hearts find solace and spirits soar. This enchanting exhibit at the Jehangir Art Gallery, a celebration of art and nature promises to leave you awe-inspired.
From: 8th to 14th August 2023
"Whispers of the Wilderness"
Solo show of Paintings by contemporary artist Vinita Sadarangani
VENUE:
Jehangir Art Gallery
161-B, M.G. Road,
Kala Ghoda, Mumbai 400 001
Timing: 11am to 7pm
Contact: +91 9892969660
Website: https://artbyvinita.
In the heart of Mumbai, the ARTIVAL FOUNDATION, an esteemed art promotion institution, orchestrates a breathtaking group art show, Rhapsody 2023. This grand event is a harmonious convergence of 25 revered contemporary Artists, hailing from the present art world.
The talented and renowned artists participating in this exhibition include Vasudeo Kamath, Prakash Ghadge, Pradip Sarkar, Ajay De, Ashif Hossain, Shashikant Dhotre, Gopal Pardeshi, Birakishor Patra, Deepak B. Patil, Vishal Phasale, Jaydeb Dolui, Govind Sirsat, Santosh Bhoir, Dr. Shankar Sharma, Pratibha Goel, Maredu Ramu, Dr. Shefali Bhujbal, Maya B, Ramanpreet Kaur Narang, Sudipta Adhikari, Kashyap Ray, Jyotsna Sonavane, Shailesh Gurav. They come together in a splendid display of their masterpieces at the renowned Jehangir Art Gallery, Mumbai, transforming it into an ethereal gallery of artistic brilliance.
This show is curated by Sharad Gurav, Satish Patil
'Rhapsody 2023' endeavors to present the diverse and captivating works of these artists, each adorned with meaningful expressions and a kaleidoscope of mediums, techniques, and color tones. The grandeur of this exhibition aims to touch the hearts of prospective art collectors, lovers, and patrons on a global scale.
Beyond its visual splendor, this art show is imbued with a noble purpose - to inspire compassion and support for those bravely battling cancer. The show's magnanimity is further enhanced by the generous support and inspiration received from the esteemed CANCER PATIENTS AID ASSOCIATION (CPAA). A portion of the proceeds from this enchanting affair will be devoted to this renowned organizations dedicated to cancer research, treatment, and patient care.
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| Vasudeo Kamath, Jiva & Shiva, Oil on canvas |
At the core of the ARTIVAL FOUNDATION's mission lies the pursuit of uncovering hidden gems among talented artists residing in both rural and urban India. Exhibitions like Rhapsody 2023 serve as stepping stones, connecting these artists with art lovers.
Press Release
From: 8th to 14th August 2023
Artival Foundation presents “Rhapsody 2023”
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A Group Exhibition of Paintings & Sculptures organized to support cancer patients
VENUE:
Jehangir Art Gallery
Auditorium Hall 161-B, M.G.Road, Kala Ghoda, Mumbai 400 001
Timing: 11am to 7pm.Contact: +91 9920804573, 9833949788
Rhapsody 2023 - A Spectacular Show with Purpose
The Indian Film Festival of Melbourne (IIFM) 2023 has announced nominations for its 14th edition. The event is the only film festival outside of Indian soil that is backed by the government of another country. The festival also honours OTT content in three categories.
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| Raj More |
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Conceptual art in a better way could be considered as communication that starts with the question 'Is that art?
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| Comedian, 2019, Maurizio Cattelan |
The conversation that arises between the artist and the spectator through the assembled or performing concepts completely rejects the standard ideas of art. This also employs the concern about aesthetics, skills, appearance, marketability, and investment as many times the conceptual artworks are not even physical or could be owned.
A concept as we may know is an abstract notion, the significance of which is more than its execution or mien. It is a non-tangible object itself but rather a mental representation of objects, experiences, and relations. Overall, concepts are fundamental to human thought and language, enabling us to navigate and interpret the world around us, communicate our ideas, and engage in higher-level cognitive processes.
Concepts when infused with art give a completely different depth to creativity. Nowadays conceptual art helps most artists to express and to raise questions through installations and performances, though appreciated by many, conceptual art is many a time goes unsung or unappreciated by art investors and commercial art galleries due to its non-physicality. Conceptual artists often challenge the materiality and object-based nature of traditional art forms. The idea or concept becomes the primary driving force, and the artist's intention and intellectual engagement take precedence.
Conceptual art is counted amongst the most intellectual and deep forms of art mediums. No doubts, as there are several thoughts inculcated behind this form. Emerging in the 1960s as a response to the dominance of traditional art forms and seeking to challenge conventional notions of what art can be, Conceptual art prioritizes the concept, idea, or thought process behind the artwork over its visual or material aspects.
The Dada movement, which emerged during World War I, rejected traditional artistic conventions and emphasized the importance of ideas and concepts over aesthetic qualities. Dada artist, Marcel Duchamp (1887 - 1968) started the idea of conceptual art with readymade objects and the brutal simplicity of minimalism ignoring the hold on the formalities of aesthetically appealing art. Duchamp's ready-made, everyday objects presented as art, laid the groundwork for the concept-based approach of conceptual art. At the same time the Fluxus movement, an international network of artists, composers, and performers, embraced an interdisciplinary and experimental approach to art. Fluxus artists, including Yoko Ono and George Maciunas, incorporated conceptual strategies, performance art, and audience participation into their work. Their emphasis on ideas, actions, and the dematerialization of art materials influenced the development of conceptual art.
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| Fountain, 1917, Marcel Duchamp |
The emergence of Minimalism in the 1960s, with artists like Donald Judd and Dan Flavin, contributed to the conceptual turn in art. Minimalism's emphasis on simplicity, seriality, and the reduction of art objects to their essential forms laid the foundation for the exploration of ideas and the concept-driven nature of art.
Conceptual art was also influenced by critical engagement with art institutions and the art market. Artists such as Hans Haacke and Michael Asher began questioning the role and power dynamics of galleries, museums, and other art institutions. Their work exposed the underlying structures and ideologies that shape the production, display, and reception of art.
Playing a pivotal role in the evolution of the art world by challenging established norms, expanding artistic possibilities, and reshaping the way we think about and engage with art, Conceptual Art has added a new dimension to the creative sphere.
It expanded the definition of art beyond traditional forms and materials. By emphasizing ideas, concepts, and processes, it broadened the scope of artistic expression. This led to the inclusion of various mediums and approaches, such as installation art, performance art, video art, digital art, and conceptual photography, among others. The boundaries of what can be considered art have been pushed, allowing for greater experimentation and innovation. It has also shifted the focus of art from aesthetic qualities to intellectual engagement and placed importance on the underlying ideas, concepts, and philosophies driving the artwork. This intellectual depth encouraged viewers to think critically and engage with the concepts presented by the artist with a deeper understanding of art as a means of communication and reflection on broader social, political, and cultural issues.
Moreover, Conceptual art played a significant role in questioning and critiquing established artistic institutions, including galleries, museums, and art markets. It challenged the authority and power dynamics within these institutions, raising awareness of their influence on artistic production and consumption. By questioning these structures, it paved the way for new approaches to curating, exhibition practices, and art distribution, leading to greater diversity and inclusivity in the art world. Having introduced a greater emphasis on audience participation and collaboration, it encouraged viewers to actively engage with the artwork, either through physical interaction or through interpretation and dialogue. This shift towards participatory art experiences allowed for a more democratic and inclusive art world, blurring the boundaries between artist and viewer and fostering a sense of shared ownership and co-creation.
This art form has also transcended national and cultural boundaries, becoming a global movement, allowing the exchange of ideas and artistic practices between artists from different regions and backgrounds. This cross-cultural exchange contributed to the diversification of artistic perspectives, challenging dominant narratives, and fostering a more globalized and interconnected art world.
A few artists who are adding paramount value to the contemporary conceptual art world are, Damien Hirst (1965), Katrin Fridriks (1974), Claude Rutault (1941), Jenny Holzer (1950), Zhang Huan (1965), Adam McEwen (1965), Ai Weiwei (1957).
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| The Physical Impossibility of Death in the Mind of Someone Living, 1991, Damien Hirst |
These artists represent just a fraction of the diverse and dynamic field of contemporary conceptual art. Each brings their unique perspective, ideas, and approaches to challenge and expand the boundaries of art in the present day.
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| Skin, Zhang Huan |
In India, Conceptual art has emerged as a significant artistic movement, reflecting the global influence of conceptualism while also incorporating local cultural, social, and political contexts. Indian artists have embraced conceptual approaches to art-making, using ideas, processes, and intellectual engagement to explore a range of themes and issues.
In the 1960s, artists in India were responding to the socio-political climate and the rapid changes taking place in the country. They sought to challenge established artistic practices and question the role of art in society. This led to a shift toward more experimental and conceptually-driven approaches.
One significant milestone in the history of conceptual art in India was the formation of the "Group 1890" in 1962. This group, which included artists like Nasreen Mohamedi, Jeram Patel, and Ambadas, emphasized abstract and non-representational art forms, exploring the idea of pure form and visual elements.
Another influential figure was Nalini Malani, who emerged in the 1970s and became known for her multimedia installations and performances. She was among the artists who embraced conceptual art practices and engaged with political and social themes through her work.
Indian conceptual artists often explore themes related to identity, cultural heritage, and the complexities of Indian society. They address issues such as caste, gender, religion, globalization, postcolonialism, and the intersection of tradition and modernity. By delving into these subjects, they challenge existing norms and contribute to ongoing dialogues about Indian society and its diverse cultural fabric.
Language and text have played a significant role in conceptual art practices in India. Artists incorporate written or spoken words, poetry, and textual elements as primary mediums to convey their ideas and concepts. This linguistic turn allows for the exploration of the linguistic diversity contexts of India. They often draw inspiration from Indian mythology, religious symbolism, folk traditions, and local practices. This contextual grounding adds depth and richness to their conceptual explorations, creating works that resonate with Indian audiences and broader global perspectives.
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| Public Notice 3, 2010, Jitish Kallat, Art Institute of Chicago, Chemould Prescott Road |
The 1980s and 1990s witnessed further developments in conceptual art in India. Artists like Subodh Gupta, N.S. Harsha and Atul Dodiya emerged during this period, employing conceptual strategies and incorporating socio-political commentary into their art.
Performance art and body art have gained prominence within the conceptual art scene in India. Artists use their bodies as mediums to convey ideas, experiences, and social commentaries. They employ various performative strategies to challenge societal norms, question power structures, and evoke emotional responses. Performance art in India often draws from cultural rituals, traditional performing arts, and the socio-political realities of the country.
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| Beyond the body and gender, Performance art, Debashish Paul |
It can be seen in the artworks and performances of artists Nikhil Chopra and Debashish Paul whose art focus on gender, body, politics, and history. Following the multi-expressionist methodology, these artists have illustrated the importance of interaction and involvement in presenting any concept or thought to the audience. Several galleries, museums, biennales, and art institutions dedicated to contemporary art in India have provided platforms for conceptual artists to exhibit their works and performances. These spaces promote critical discourse, support experimentation, and provide opportunities for engagement with the wider art community.
It's important to note that the development of conceptual art in India was intertwined with global art movements, especially the broader conceptual art movement that originated in the West in the 1960s. Indian artists were exposed to international art trends through exhibitions, publications, and travel, which influenced their artistic practices and conceptual approaches. This trend was positively taken and appreciated by Indian artists, which can be seen in the contemporary art affair.
If we take a few Indian contemporary conceptual artists into consideration, they have contributed a lot to evolving the Indian art world on the global dais. Artists like
1. Subodh Gupta is Known for his sculptural installations and conceptual artworks and has explored themes of identity, migration, consumerism, and everyday life. He often uses everyday objects, such as utensils and kitchenware, as symbols to comment on social and cultural issues. His works have been exhibited internationally, and he is considered one of India's leading contemporary artists.
2. Jitish Kallat's conceptual practice encompasses various mediums, including painting, sculpture, photography, and video. His works explore themes of time, memory, urbanization, and the socio-political landscape of India. Kallat often incorporates text, language, and historical references in his artworks to provoke critical thinking and reflection.
3. Shilpa Gupta's conceptual art practice addresses themes of identity, nationalism, censorship, and surveillance. She uses diverse mediums, including interactive installations, video, photography, and performance, to engage viewers in conversations about personal and political boundaries. Gupta's works often invite audience participation, blurring the lines between the artist, artwork, and viewer.
4. Amar Kanwar is known for his multi-channel video installations that explore socio-political issues, human rights, and violence. His conceptual artworks raise questions about power structures, social justice, and collective memory. Kanwar's works often combine poetic narratives, archival footage, and documentary techniques to create immersive experiences that challenge viewers' perspectives
5. Anita Dube is a prominent conceptual artist and curator known for her installations, sculptures, and mixed-media works. Her practice investigates issues of feminism, social inequality, and the body. Dube's works often employ symbolism, metaphors, and cultural references to address gender, power dynamics, and the politics of representation.
These eminent artists represent a diverse range of conceptual practices in India, each contributing to the contemporary art scene with their unique perspectives, critical engagement, and conceptual depth.
The direction and impact of conceptual art on society and the art world are multifaceted and continue to evolve. Conceptual art has already broadened the definition of art, incorporating various mediums and approaches. This trend is likely to continue, with artists exploring new technologies, interdisciplinary collaborations, and innovative techniques. The boundaries between different art forms and disciplines may continue to blur, allowing for hybrid forms and novel artistic expressions. As technology continues to advance, conceptual art is likely to incorporate new digital mediums and interactive experiences. Virtual reality, augmented reality, and other emerging technologies may be integrated into conceptual artworks, enhancing viewer engagement and creating immersive environments.
Conceptual art has a history of questioning and critiquing art institutions and structures. This tradition may continue, with artists challenging the existing power dynamics, gatekeeping, and market-oriented aspects of the art world. They may explore alternative exhibition models, and decentralized approaches, and seek to redefine the relationships between artists, institutions, and audiences.
Conceptual art often employs non-traditional mediums and formats such as installations, performances, videos, or ephemeral works. These mediums can be challenging to sell and present logistical hurdles for collectors and galleries. They may require specific installation requirements or ongoing maintenance, making them less practical for private collectors. The market for conceptual art may not be as established or as mainstream as that for more traditional art forms. This can result in lower demand and a smaller pool of potential buyers. Galleries and auction houses may face challenges in marketing and promoting conceptual art to a wider audience, which can impact sales and prices.
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The Weather Project, 2003, Olafur Eliasson, Turbine Hall, Tate Modern |
Furthermore, Pricing conceptual art can be subjective and challenging. Determining the value of an artwork that primarily revolves around the idea or concept rather than the physical object itself can be complex. It requires buyers and sellers to consider factors beyond materiality, such as the artist's reputation, historical significance, and critical reception.
Then how to sell it?
It is important to note that conceptual art has dedicated collectors, museums, and institutions that appreciate its intellectual depth and innovative approaches. The market for conceptual art has been growing over time as more collectors and institutions recognize its value and contribution to contemporary art.
While it often revolves around ideas, concepts, and narratives, when selling conceptual art, it is crucial to articulate and communicate the story behind the artwork. It may require some education and explanation for potential buyers to fully appreciate its value.
Conceptual art sometimes exists in limited editions or as unique, one-of-a-kind pieces. This limited availability can enhance the market for such artwork. Limited editions can provide an opportunity for collectors to acquire the conceptual work, making it more marketable.
Selling this intellectual form of art requires a combination of effective storytelling, education, targeted marketing, and engaging with the right networks. By highlighting the intellectual depth, narrative, and unique qualities of the artwork, potential buyers and collectors can be attracted who value and appreciate conceptual art.
It is phenomenal to see how artists are prioritizing their thoughts, experiences, and concepts over the aesthetical appeal of their artworks. This change in the art world has sensationally given rise to challenging and redefining the boundaries of art, encouraging critical thinking, intellectual engagement, and social dialogue. It remains a vibrant and influential movement, shaping the trajectory of contemporary art and providing a platform for artists to explore complex ideas and concepts.
Sanchita Sharma
2023
Content Copyright to Sanchita Sharma
