Dr Sanjeev Kishor Gautam’s inventive approach will unleash fresh life in contemporary art scene. Subhra Mazumdar in conversation with the new Director General of National Gallery of Modern Art.
In the spruced up and cool interiors of the office of the Director General of National Gallery of Modern Art, the mind is magically enveloped into an open and welcoming space, amicably kitted out with comfortable and underplayed seating arrangements. Offset with succinct touches of natural greenery, the space exudes an aura of a genuine welcome. Coming face-to-face with the occupant of this august space, one is doubly charmed by his introductory message, “I am deeply humbled and honoured to take the helm as director general of the National Gallery of Modern Art. Under my stewardship, the museum shall resolutely adhere to its imperatives of knowledge dissemination on Indian modern art and contemporaneous art practice while sustaining an inclusive and equitable space for the community stakeholders.”
Dr Sanjeev Kishor Gautum, a slight, vibrant persona, complete with shoulder length hair, pierced ear lobes, clearcut and fast paced delivery, opens up to visitors within the first five minutes of the meeting. His prolific charter of implementations and future projects to be undertaken, under the leadership of
the country’s national storehouse of art, runs across a gamut of choices, including a ‘polymathic’ layout of exhibitions, artist engagements, a nationalist oriented, broad-based series of activities and the public’s inclusivity in these enterprises. Even more impressive, is the DG’s pioneering move towards creating a combined effort of togetherness among the three branches of the National Gallery of Modern Art, spread across Mumbai, Bengaluru and New Delhi.
As the conversation takes off, one gets the feeling that underlining this emphasis on contemporary art practice, he is introducing a legacy of transcendence beyond physical demarcations. Thus, when a national art body, resonates with a true Indian identity, as is the case with NGMA, the gamut of activities under this umbrella take on enormous proportions, both at home and abroad. As if this overloaded charter of execution was not fulfilling enough, Dr Gautam had set the ball rolling, literally, through his recent and open call to all women printmakers of India, to participate in the avant-garde exhibition titled ‘Nabha Sparsh – Indian Women Printmakers’. This exhibition showcased works from more than 250 women artists. This compelling art narrative gave a clear view of the evolutionary journey of the printmaking process, in the hands of women practitioners, seeped with their resilience and creativity.
Dr Gautam’s administrative acumen is evident in his 25-year tenure in art academia, which has served as the foundation for the development of his skills. He has served on the faculty of esteemed national-level art institutions, including Banaras Hindu University and Agra University, among others. Right from the beginning, he went beyond traditional classroom teaching, immersing himself in the administrative workings of these academies as well. This multifaceted involvement gave him the unique privilege of understanding the very ‘pulse’ of contemporary art academia.
His sharp administrative acumen and role as a knowledge disseminator form the foundation of his upcoming master plan. This initiative is rooted in the idea of partnering with museums—not merely as venues for public exhibitions, but as active platforms for contemporary art education. The plan envisions a structured engagement with the works of great masters currently housed in museum and institutional storage, turning these collections into vital educational resources. It is this acumen of being an administrator and knowledge disseminator, that lies at the root of his forthcoming master plan. This stems from the idea of collaborating with museums, not as a source of public exhibitions, but also as platforms for the pursuit of present-day art education, via a systematic interaction with the works of masters, that are in our museums and art institutions.
The initial step toward integrating art education with the legacy of renowned artists involves exhibitions showcasing the works of, for example, the late Russian painter Nicholas Roerich. Renowned for his vivid use of pigment—especially his striking ‘blue’ hues— Roerich created many of his most iconic pieces during his extensive travels through the remote Himalayas and other regions. While his artistic mastery is well recognized, Dr Gautam emphasizes the deeper significance of these works: they serve as powerful tools of soft diplomacy, spiritual exploration, and an artistic engagement with the Himalayan landscape. Together, these elements resonate deeply within the Indian psyche, forming a meaningful bridge of cultural and philosophical connectivity.
To ensure that the exercise goes beyond merely viewing Roerich’s masterworks, it would be expanded to include more in-depth and far-reaching initiatives—such as establishing exchange programs with international
institutions and incorporating proven methodologies. This forward-looking approach will broaden the scope of art education, taking it beyond the classroom and into the wider world of active practitioners and their creative practices.
The proposed exhibition has drawn his close attention not just for the reasons mentioned above. On a broader scale, the NGMA is actively planning to create an immersive platform that highlights our cultural and artistic heritage to a global audience by exploring shared connections. As the visionary behind these initiatives aptly notes, “An artist doesn’t merely paint… he is also someone striving to uplift society, and in that sense, his art becomes his voice.” Drawing a powerful parallel with Picasso’s Guernica and its poignant message to a war-torn world, Dr Gautam opens new pathways for presenting our artistic legacy to the world.
In light of this integrated approach, even broader initiatives are being planned. With this forward looking vision, Dr Gautam has conceptualized a unique art framework that goes beyond the traditional appreciation of masterworks in museums and prestigious collections. This vision extends to the establishment of art studios for emerging artists— spaces where they can deepen their formal training while engaging with the cultural roots that inspire artistic creation. These budding artists, guided by structured programs, will benefit from interaction with Indian indigenous artists as well as contemporary printmakers and other practitioners.
Besides the immediate benefits of such a scope of art training, Dr Gautam is quick to point out its international level fallout. Pointing out the existence of museums and academies abroad where there are opportunities for internships, he reveals his explorative thought process being geared towards sourcing avenues for student and scholar exchanges where a reciprocal arrangement could be initiated. This step will give our students a chance to acquaint themselves with other artists in their line of practice and vice versa.
To ensure that his carefully crafted initiatives were more than just lofty ideas and truly actionable endeavours, Dr Gautam took a pragmatic approach by actively participating in a public-private exhibition platform—the Viksit Bharat Ambassador Artist Workshop. This event was held at the iconic Purana Qila in the heart of the capital, serving as a fitting venue for a vibrant and inclusive celebration of art. The workshop brought together a diverse and comprehensive community of artists, with over 15,000 participants attending in person. Complementing this physical turnout was an impressive virtual audience of more than 50,000 art enthusiasts, all embodying the spirit of India’s deep-rooted cultural affinity for the arts.
The artists themselves, ranged in the age bracket of school children to parents and elders, from amateurs to professionals, with each of them examining the exhaustive canvas of a Viksit Bharat idea, through its representation in thought, words and deed. This could be likened to the work of Leonardo da Vinci, who drew inspiration not solely from fellow artists, but from the wealth of knowledge across diverse discipline surrounding his studio. Da Vinci never adhered rigidly to prescribed norms; instead, he infused his creations with the essence of his inner world, producing timeless masterpieces. In a similar spirit, the National Gallery of Modern Art (NGMA), through its programmatic vision under the national theme, seeks to awaken this immersive and introspective approach to art-making—an initiative, as its chief planner reveals, that aims to rekindle art as a deeply personal and interdisciplinary experience.
Beyond the diverse range of artworks on display, the variety of visitors to the exhibition was equally striking, according to Dr Gautam. Notably, it was none other than Dr S. Jaishankar, External Affairs Minister, who shared his impressions on social media after attending the event. He posted: “Stopped by the Viksit Bharat Ambassador Artist workshop at Purana Qila… Pleased to see the various expressions of Viksit Bharat through the medium of art align with the global move towards interactive and immersive experiences.”
Forging ahead with renewed vigour, Dr Gautam is now channelling efforts toward fostering deeper engagement between contemporary practices and the traditions of our indigenous art makers. The raison d’etre behind this move, according to Dr Gautam, is the resurgence of the intrinsic cultural rootedness of our tribal communities who regard the Earth as a deity and their daily rituals and actions, as their means of worship. Their art is not driven by international trends or an attempt to modernize ancient practices. Instead, it’s a celebration of indigenous materials and traditions. The National Gallery’s forthcoming mission mode therefore, is to exploit the skill of indigenous weavers, who have churned out representative masterpieces with ingenuity and skill. This select handful will now be approached for weaving the masterpieces of Indian art ensconced in the National Gallery’s permanent collection. The indigenous art makers, with the help of their traditional techniques, will innovate and produce a hitherto untried yet innovative amalgamation of the avante garde with the established, for all the world to admire.
More importantly, these initiatives represent a tangible step toward realizing the vision of Amrit Kaal—a long-term roadmap aiming to build a prosperous India by the centenary of its independence, where the fruits of development are accessible to every citizen. For Dr Gautam, the mission of the Prime Minister Vishwakarma Kaushal Samman (PM VIKAS) specifically focuses on enhancing the quality, scale and market reach of traditional products, while integrating artisans into the broader MSME ecosystem.
Departing from conventional marketing cantered approaches, the NGMA’s perspective prioritizes skill development, digital literacy, market access, and social security—particularly for marginalized communities. In essence, this unprecedented weaving initiative seeks to bring the spirit of Amrit Kaal directly into the heart of rural India, reaching deep into its villages.
Integrating closely with a modern outlook on the art scene of the country, the onward calendar of goals aims to give our music and theatre traditions a visual dimension, under another NGMA inventive approach. It examines the all inclusive training resources that erstwhile devadasis underwent, in order to equip them as spiritual artists offering their art learning as a ‘prayer’ to the deity. The ancient norms of dance propagation therefore, had made the temple a centre of cultural learning as well. It is this spiritual rootedness that Dr Gautam wants to infuse into the forthcoming joint attempt of Art integration, with the performing traditions of India.
The upcoming grand exhibition of Chitra Ramayana, slated for February, is envisioned as a major step toward deepening the integration of visual art with the performing arts. This initiative represents a significant stride in the ongoing journey of artistic convergence. What inspired Dr Gautam to focus on this theme wasn’t solely the visual richness of the Ramayana or its portrayal of Lord Rama as Purushottam—the ideal man—but a personal memory from his childhood.
The spark can be traced back to a moment of recognition when, as a schoolboy, he won a prize in a competition held by the children’s magazine Nandan Patrika. The contest asked participants to depict “The Most Influential Moment in My Life,” and Dr Gautam chose a poignant episode from the classic tale of Raja Harishchandra. His drawing focused on the tragic story of Rohit, the king’s son, who died of a snakebite—emphasizing the heartbreak of his mother, who lacked even the means to provide a shroud for her child. This early emotional connection to moral storytelling through visuals left a lasting impact, ultimately shaping his artistic vision.
The poignant episodes from the ancient tale on young Gautam, prompted him to make a solemn resolve—to grow up and become an artist who would use his work to make art a meaningful and socially relevant. Today, Dr Gautam has more than fulfilled this childhood aspiration.
Reflecting on his practice, he notes, “Space division in my work is the leitmotif of my art-making.” Yet, for those who engage with his creations, the experience goes far beyond a technical analysis. His work transcends the visual realm, inviting viewers into a deeper, layered realm of thought and interpretation.
Describing his own philosophy, Dr Gautam articulates it clearly: “My art is a visual language, where thought and its presentation can be likened to a stage and the final look at the work is therefore an association with all the other art forms.” This seamless blending of form and meaning allows his audience to not just see, but feel and interpret—a hallmark of his artistic journey.
