Category: Editors Choice

• Textiles have been an integral part to Indian identity influencing everything from craftsmanship and community to global trade.
• “Textiles provided me a platform to feel, connect and be present,” says the artist Natasha Das.
• Gender perspectives are also reshaping the textile art landscape.

At Delhi Contemporary Art Week, textile art is gaining unprecedented attention, however, the field’s journey towards commercial viability remains a significant challenge for its artists and supporters. Textiles have been an integral part to Indian identity influencing everything from craftsmanship and community to global trade. Despite the rich history, textile art has struggled to capture widespread interest within the art world. However, the recent exhibitions are changing this narrative.

“Threads That Bare,” a prominent feature of DCAW, illustrates how contemporary artists are drawing from India’s rich textile traditions to craft intricate, multilayered stories. The exhibition comes at a pivotal time when curators and galleries are exhibiting a growing number of textile-based shows in the subcontinent. From Vayan- The Art of Indian Brocades, curated by Mayank Mansigh Kaul, at Delhi’s National Crafts Museum (2023), to Sutr Santati at NGMA in Mumbai (2024), and Entwined- Edition 2 by Apparao Galleries.

Artist Natasha Das, who previously worked with oils, transitioned to textiles after finding that traditional painting methods are limiting. Her current work revolves around threads and fabrics, drawing inspiration from Assam’s weaving communities. Das’s piece, “Lahe Land 2,” is a reflection of Assamese culture and landscape, with each thread representing personal and cultural memories. “Textiles provided me a platform to feel, connect and be present.” she notes.

The exhibition also features Geeta Khandelwal and Khadim Ali. Khandelwal has spent decades mastering quilt-making and her works include miniature royal garments from the 18th and 19th centuries, created using traditional techniques. In contrast, Ali’s mixed-media work, “I’m the Third Script 2,” uses embroidery to express his experiences with conflict in Afghanistan and Pakistan.

Sharan Apparao, curator-director at Apparao Galleries strongly believes that while the current market for textile art may seem niche, there is a lot of potential for growth with support from galleries and collectors who value the medium.

Gender perspectives are also reshaping the textile art landscape. Varunika Saraf’s “The Longest Revolution,” from the 2023 CheMoulding show, uses embroidery to explore themes of women’s agency and socio-political change. The focus on women’s contributions challenges the traditional notions of textiles as merely a ‘women’s craft.’

Curator Mayank Mansign Kaul said, “Globally, curators have suggested that this current fixation with textile-based art is also emerging from increased attention to women-based art practices. I personally think there is, overall, a greater interest in materiality and abstraction than before. Or perhaps this is only natural, given the long neglect of the field by the art world.”

• The sculpture, titled Abundance, weighs about 50 kilograms and is roughly the size of a hunting horn.
• Gold holds personal significance for the artist, Lee.
• Troy Emery and Gaypalani Wanambi are amongst the future participants.

Australian contemporary artist Lindy Lee has created a sculpture using A$10 million worth of pure gold. The finished piece, titled Abundance, weighs about 50 kilograms and is roughly the size of a hunting horn.

Abundance is the first project from the new Pallion Arts Program, launched by the Pallion Group, an Australian company that is known for making the Melbourne Cup and Australian Open trophies. Pallion supplied the gold for Lee’s sculpture, which showcases a cylindrical half-circle with thousands of small perforations that interact with ambient light. While Pallion retains the ownership of Abundance, the sculpture will be on permanent loan to the National Gallery of Australia (NGA) in Canberra.

The public will first see Abundance during the exhibition Lindy Lee from October 25, 2024, to June 2025. At the same time, the NGA will also unveil Lee’s new massive sculpture, Ouroboros (2022-24), which will be on permanent display outside the gallery. Ouroboros costs A$14 million to create and has attracted criticism for its exorbitant price.

Ouroboros is inspired by the mythical creature it represents, will feature a highly polished surface that reflects its surroundings and will be internally illuminated at night. The sculpture, standing 4 meters tall and weighing around 13 tonnes, is designed for visitors to walk through and experience from the inside.

The Pallion Arts Programs aims to extend support to the Australian artists by providing opportunities to work with precious metals. Troy Emery and Gaypalani Wanambi are amongst the future participants.

For Lee, working with gold for the first time was a remarkable experience. She worked with artisans at Pallion’s subsidiary, W.J. Sanders, in Marrickville, Sydney. Lee describes the workshop as “a gorgeous little old-fashioned place- it felt Victorian.” Gold holds personal significance for Lee as it symbolizes a special moment in her family’s history. Her father moved to Australia in 1947, while her mother and siblings escaped Communist China with gold that helped them secure their freedom. “My mum had this store of gold and when her mother-in-law was imprisoned, tortured and beaten, she managed to bribe the guards to release my grandmother. Gold to me represents independence and the ultimate luxury that is freedom,” says Lee.

• The works span a range of styles and periods offering a glimpse into the artistic evolution.
• James McNeill Whistler’s early portrait of Lucas Alexander Ionides is estimated between £80,000-£120,000.

James McNeill Whistler, Portrait of Lucas Alexander Lonides (1859)
19th Century and British Impressionist Art, Bonhams, London, 25 September
Estimate: £80,000-£120,000

This early portrait by James McNeill Whistler features Lucas Alexander Ionides, a close friend and art patron. Ionides, from a wealthy Greek family in London supported Whistler by buying his works especially when Whistler needed financial help. Ionides wrote fondly about their relationship, mentioning that their disagreements were mostly about art. This painting shows the influence of French painters like Courbet during this period. The painting remained in the Ionides family for generations before being finally sold in 1968. It was displayed in an Arts Council exhibition in London and New York in 1960 but hasn’t been in public ever since.

Antony Gormley, Quantum Cloud XI (2000)
Gen One: Innovations from Paul G. Allen Collection, Christie’s, New York, 10 September
Estimate: $250,000-$350,000

Antony Gormley’s Quantum Cloud XI is a part of his Quantum Cloud series, which uses fractal geometry to explore human forms through the lens of quantum physics. The sculpture reflects Paul G. Allen’s interest in science and the groundbreaking ideas of the physicist Basil Hiley. Allen’s collection is known for its influential works including this piece amongst other significant artworks. Another sculpture from this series is located near London’s O2 Arena and is nearly 30 meters tall.

Ben Enwonwu, The Emir in Council (1945-59)
Modern and Contemporary African Art, Sotheby’s, London, 27 September
Estimate: £70,000-£90,000

Ben Enwonwu’s The Emir in Council was recently rediscovered by an art historian who purchased it from a Lisbon gallery. Previously known since the 1990s, it was part of a Belgian private collection from being identified. Painted during Enwonwu’s time at The Slade and completed before the Nigerian Independence, it showcases the Emir of Kano with his advisers and colonial guards.

Sayed Haider Raza, Terra Amata (1984)
Modern and Contemporary South Asian Art, Sotheby’s, London, 26 September
Estimate: £2m-£4m

Terra Amata by Sayed Haider Raza comes from the famous collection of Chester and Davida Herwitz. It was last sold in 2000 for $55,375. The painting has been exhibited widely including at Halles de I’IIe in Geneva in 1987. It will appear in an updated catalog of Raza’s work. Sotheby’s achieved a record for Raza in March 2024 with the sale of Kalliste (1959) for $5.6 million, surpassing its estimate of $2-3 million.

• The publication features works from 54 contributors including artists, curators, writers and historians from the Indian art scene.
• Each contributor made a selection of five significant works.
• The book depicts both well-known and lesser-known artists.

“Proximity is not alien to us in India,” Amartya Sen noted in The Argumentative Indian (2005), highlighting the rich tradition of disclosure in Indian culture. This trait is depicted in Moving Focus, India: New Perspectives on Modern and Contemporary Art, edited by Mortimer Chatterjee of Chatterjee & Lal in Mumbai. The two-volume book is a testament to tradition, emerging from an enthralling late-night discussions amongst friends about influential artworks.

The publication features works from 54 contributors including artists, curators, writers and historians from the Indian art scene. Each contributor made a selection of five significant works, which were accompanied by brief texts and the whole collection contextualized by eight essays and a roundtable discussion. This unique approach showcases a wide range of opinions and brings into attention various perspectives on Indian art.

The book depicts both well-known and lesser-known artists. For instance, Bhupen Khakhar’s work, famous for its detailed portrayals of daily life, appears multiple times, as do Anju Dodiya’s intriguing watercolors. However, the selection also extends to Amitesh Grover’s text projections and Nelly Sethna’s tapestry, “Untitled” (1980). Furthermore, Kushal Ray’s photobook Intimacies (2012), chosen by photographer Sohrab Hura, adds a personal touch to the collection.

Unlike Thames & Hudson’s 20th Century Indian Art, which lays more focus on a traditional overview, Chatterjee’s book spans artworks from 1900 onwards and includes both design and fine art by artists based in India or in its diaspora. The book is organized around visual affinities and key “memory sites,” a concept introduced by French historian Pierre Nora. These sites such as Ramkinkar Baij’s “Santhal Family” (1938), the Progressive Artists’ Group and the Gujarat city of Baroda’s art movement are pivotal in shaping the collective identity of the Indian art community.

Chatterjee’s work navigates through the complexity of these sites balancing theoretical discussions with accessible personal insights. Contributions from curators like Shanay Jhaveri and Madhuvanti Ghose along with Geeta Kapur’s critique of hegemonic modernism, who discuss various aspects of Indian art enrich the dialogue. The book is an extensive compilation that engages with broader debates within the field and provides an accessible exploration of modern and contemporary Indian art.

The revival of traditional materials in modern art is an upcoming trend that bridges the gap between the past and present.

In today’s-fast paced world driven by innovations and technology, there is always an eye for something genuine that connects us to our roots. It is this longing that has led to the revival of traditional materials in modern art, an upcoming trend that bridges the gap between the past and present, offering a unique opportunity to the contemporary artists to reconnect with the cultural heritage, breathing a new life into modern art.

Cultural and Historical Significance

Incorporating materials like handmade paper, natural dyes or traditional ceramics brings us back to the essence of handmade. The charm lies in the imperfections making the art look more surreal. By using these materials, artists can preserve and honor cultural practices that otherwise could go extinct. These materials often carry significant narratives and remind us of history adding an in-depth meaning to contemporary artworks.

Sustainability and Environmental Impact

The resurgence of traditional materials align with the global need for sustainability. Handmade goods use locally-sourced materials which reduce environmental impact and boost a longevity that machine made items cannot match. Furthermore, revival of traditional techniques can support local artisans and communities, ensuring the preservation of their skills and practices.

The Artist’s Narrative

Behind every creation, a skilled artisan has a unique perception and a story to share. The revival of traditional crafts forms a deeper connection between the creators and consumers. Buyers are not merely just buying the merchandise, they are investing in the exceptional skills of the artists, creating a meaningful connection in a world where real connections are losing its string.

Blending Tradition and Innovation

The revival of traditional materials is about blending old with new. Artisans are welcoming modern techniques, materials and design sensibilities to give a fresh interpretation of the age-old traditions. Traditional materials highlight distinct textures and forms that contrast with the modern aesthetics creating a dynamic visual impact.

Crafting as a Source of Meditation

Traditional crafts offer a unique form of therapy in a stressful world as many people turn to crafting as a way to de-stress and break free from the monotony of life. Whether it is knitting, pottery, these crafts help us escape from the chaos of modern and fast life. In a nutshell, the resurgence of traditional materials in modern art is a trend that offers cultural enrichment and new artistic possibilities. In a world of fleeting trends and innovations, traditional crafts are a testament to the beauty of the handmade and timeless.

Indigenous artists in India have experienced a remarkable resurgence in light of various factors.

In recent years, Indigenous art has gained momentum reflecting a broader movement to celebrate and preserve the diverse cultural heritage of the country’s tribal communities. This revival is not only uplifting India’s cultural landscape but also gaining international attention to the unique artistic traditions of Indigenous people.

India is home to countless tribal communities, each with its own unique art forms that have been passed down through generations. These art forms extend to intricate tribal paintings, vibrant textiles, traditional crafts and distinctive sculptures. Historically, these art forms were either overshadowed by modern art or commercialization, however, in recent years, there has been a renewed interest and appreciation for them.

One of the most significant examples is the rise of Warli painting, a traditional form of tribal art from the Warli community in Maharashtra. The art is characterized by simple geometric patterns and motifs that depict daily life and nature. Warli art is now recognized both nationally and internationally. Artists like Jivya Soma Mashe and other members of the Warli community have played a significant role in bringing the art to the forefront giving traditional techniques a modern interpretation.

Similarly, Madhubani art from Bihar known for its elaborate patterns and vibrant colors has seen a resurgence. This art form involves intricate drawings on walls and paper, and is widely celebrated through exhibitions and global collaborations. Artists like Bharti Dayal amongst many others have aided in elevating Madhubani art integrating it into modern visualizations while preserving its traditional essence.

Events like Tribal Art Festival and the Craft Village showcase the work of indigenous artists and provide platforms to gain better reach. Furthermore, the digital age has played an important role in reviving culture. The artists get opportunities to connect with audiences, share their stories and gain recognition. Organizations such as Tribal Cooperative Marketing Development Federation of India and various other non-governmental organizations are actively promoting the art and artisans. This helps in both economical and creative growth. In a nutshell, the rise of Indigenous artists in India speaks volumes of cultural renaissance. By supporting the art forms from tribal communities, India is expanding its cultural landscape and respect for its creativity. We, as a society, must realize the importance of preserving cultural heritage alongside adapting to innovation and modernization.

• Adrian Chang is seeking to sell the K11 Art Mall!
• NWD is one of the Hong Kong’s most indebted property developers.
• The K11 Group also laid off the creative team and cut 20 other jobs.

Adrian Cheng, a prominent figure in Hong Kong and executive vice chairman of New World Development (NWD) is seeking to sell the K11 Art Mall, a flagship project of his K11 brand. As per reports, Cheng’s company has been offered HK $9 billion by CR Longdation, a subsidiary of the state owned China resources conglomerate. The mall which is loacted on Hanoi road in Tsim Sha Tsui has been a flagship venture for K11 since it opened in 2009.

While NWD and CR Longdation haven’t confirmed these reports, the potential sale comes as NWD faces financial difficulties. The company has warned of a potential loss of HK$19 billion to HK$20 billion for the fiscal year ending in June. The shortfall is attributed to factors like revenue recognition problems, rising interest rates and currency depreciation. Final results are set to release in September.

NWD is one of the Hong Kong’s most indebted property developers, with a net gearing ratio of 49.9 percent in December. The company is aiming to lower this ratio to 40 percent or less by 2027. It has repaid HK$35 billion in debt in the first half of the year and plans to repay over HK$16 billion in the coming months. The company’s stock price has dropped to its lowest point ever since 2003 which has further reduced its market value to HK$19.76 billion. As per reports, the K11 Group also laid off the creative team and cut 20 other jobs.

Adrian Cheng, the grandson of late business tycoon Cheng Yu-Tung, is a well known figure for his work in art and business. His K11 mall has expanded the Art Mall to include in several locations in China such as K11 Musea in Hong Kong and the upcoming K11 ECOAST in Schenzhen. Cheng is also enthusiastically promoting arts, serving as Chair of the Mega Arts and Cultural Events Committee and co-chair of the Meta Media Group.

NWD’s financial troubles have intensified scrutiny on the Cheng family’s succession plans. Henry Chang, the third richest tycoon in has recently named Adrian Chang as co-CEO of NWD’s investment division. As speculations about future continues, Henry’s daughter Sonia, continues to serve as vice-chair of Chow Tai Fook Jewelry Group and CEO of Rosewood Hotel Group.

This special art exhibition celebrates 25 years of Kargil victoryand bravery of our soldiers.

In the summer of 1999, the snow-capped Kargil witnessed a tale of courage, sacrifice and patriotism. The War of Kargil, a conflict that tested the mettle of the Indian Army, left an indelible mark on the nation’s collective consciousness. The painting exhibition conducted on July 26, 2024 sought to capture the essence of that fateful summer, paying tribute to the brave men who fought for their country’s honour.

The creative strokes of the artists made the rugged landscape of Kargil come alive. Each canvas narrated a story of valour, of camaraderie and of the unshakeable spirit of those who defended our nation’s sovereignty. Echoes of Valour, was not just an exhibition, but a poignant reminder of the sacrifices made by our heroes and a celebration of their unwavering dedication to duty.

The event not only served as a tribute to the brave soldiers who defended India’s sovereignty but also as a visual journey that brought to life the rugged landscape of Kargil and the valour of the troops. The show was curated by Renu Sangwan, a passionate artist and wife of an army officer.

With extensive experience in curating events and participating in exhibitions, Renu Sangwan said this was a tribute to the Kargil heroes with a deeply emotional and privileged endeavour.

The organisers expressed their gratitude to Rashmi Mishra, National Board Member of MSME and also to the team of Mahila Morcha, BJP for providing this significant opportunity.

The participating artists were Kishore Roy, from Kolkata, Dr Sudarshan Pal Singh from Chandigarh, Priyaranjan Behera from Bangalore, Sanjay Biswal from Odisha, Renu Sangwan from Haryana, Anas Sultan and Anjum Parveen from Uttar Pradesh, Rajeev Semwal from Faridabad, Haryana, Anita Raghuvanshi Malik and Urmila Yadav from Uttar Pradesh, Gaurav Yadav and Anushka Dhawan from Rajasthan, Shila Roy from Kolkata and Arundhati Bhattacharjee from Delhi.

The Divine Elements Volume Two by Divyaman Singh served as avisual symphony where cosmos and earth converged.

Following the success of the artist’s earlier show, The Divine Elements Volume One, senior artist Divyaman Singh came back with the anticipated sequel, his solo show, The Divine Elements Volume Two, which opened on July 1, 2024 to continue till July 8, 2024 at Visual Art Gallery, India Habitat Center, New Delhi. Curated by Shahzada Khurram, this exhibition takes the audience on an evocative journey, exploring the intricate coexistence of humanity with the celestial elements of the universe. Building on the foundation set by Volume One, which served as a visual symphony where the cosmos and earthly elements converged, Volume Two delves deeper into the profound connections between human existence and the vast cosmos and also takes its inspiration from Samāveśa – a profound exploration of contact and coexistence with the divine elements. This exhibition invited viewers to contemplate their place in the universe, merging astronomy with spirituality to reveal the symbiotic relationship between humanity and the stars.

The Divine Elements Volume Two came out as an immersive experience, blending art and astronomy to showcase how humanity coexists and interacts with celestial bodies. Each piece in the collection is a testament to the beauty and mystery of the universe, encouraging a sense of wonder and introspection.

The show has garnered attention from eminent personalities in art and culture industry, promising to be a landmark event in the contemporary art scene. Visitors came to see a diverse range of artworks that blended scientific wonder with spiritual depth, making for a thought-provoking and visually stunning display.

Thrilled to showcase his brilliant artworks, Divyaman Singh exclaimed, “As an artist, my work has always been driven by the desire to explore and illuminate the intricate connections between the tangible and the ethereal. In Volume 2, I delve deep into the concept of contact and coexistence with the divine elements. This collection represents a journey towards understanding how the sacred and the everyday intertwine.”

He further added, “Through diverse mediums and forms, I aim to capture the essence of Samāveśa – the harmonious interplay between human existence and the divine. Each piece invites the viewer to contemplate their own relationship with the transcendent, encouraging a deeper awareness and appreciation of the unseen forces that shape our lives.”

Curator Shahzada Khurram said, “This exhibition is a tribute to the harmony between mankind and the universe. It is an exploration of our place within the cosmos, illustrating how celestial elements influence and shape our spiritual and physical existence. We aim to inspire a deeper connection and understanding of the universe’s role in our daily lives.”

Khurram is a curator known for his ability to weave intricate narratives through art exhibitions into a certain simplicity that cuts across the intellectual as well as new explorers of art. With a keen eye for detail and a passion for bridging the gap between art and the viewer, Khurram brings a unique perspective to “The Divine Elements Volume Two,” continuing to push the boundaries of contemporary art.

• Discovery of legendary modernist artist and redefining Bombay’s artistic landscape.
• After spending thirty years in India, Rudolf returned to Europe.

An Indian boy who had run away from home and was working as a car washer in Bombay encountered a German man with a similar story. The German, Rudolf, had fled Nazi and wanted to reinvent himself as a artist, cartoonist and art critic in Bombay. When the German asked the young car washer, “Is there anything you would like to do?”, he replied “Paint”. This is how the legendary modernist artist Krishnaji Howlaji Ara, was discovered by Rudolf reflecting how unexpected encounters can transform lives.

In 1933, Rudolf von Leyden, a German geologist whose father was a known Prussian official, arrived in Bombay. His brother, Albrecht, had already been living in the city for about five years. Although Rudolf planned to stay for only six months, he soon found his niche for himself by designing greeting cards, menus and visiting cards. His journey in the art world began when Simon Pereria, editor of The Evening News of India suggested that he must review an art show. This golden opportunity launched his career as an art critic who carried clear and perceptive reviews.

Rudolf’s influence on art grew significantly over the years in Bombay. He joined the Bombay Art Society’s committee where he supported avant-garde artists like Amrita Sher-Gil, F.N. Souza, and M.F. Husain. His dedicated efforts helped in establishing the Bombay Progressive Artists Group and played a pivotal role in founding the Jehangir Art Gallery in light of his persuasion of philanthropist Sir Cowasji Jehangir. Rudolf’s commitment to modern art was apparent when he defended Akbar Padamsee’s controversial painting in the court, highlighting the importance of artistic freedom.

Extending his legacy beyond art, he made admirable contributions to advertising and philanthropy. He actively participated in the Indian Society of Advertisers and achieved a gold medal for his skills in advertising. He also supported the young artists and participated in various charitable events. After spending thirty years in India, Rudolf returned to Europe and led a pharmaceutical firm’s branch in Vienna. His legacy in Bombay is remembered for shaping the city’s modern art scene and supporting the new artists.