The Curator #17

Throughout this series we have explored how curators have used pre-modern, modern and contemporary art. The category of “art” mainly included sculptures, paintings, videos, photographs, installations, performance art, etc. Even if the sculptures, and paintings belonged to the past they were included in the category of arts or fine arts. But what about forms like patachitras, ivory carving, wood carving, jewelery, pottery, phad paintings, kavads, etc. Why are not they arts? Have you ever thought about this that why are they called folk art/craft and not given the status of art? In the last post we saw how Jyotindra Jain and Dadi Pudumjee curated a show on the picture showmen traditions, masks, puppets, etc. from India which usually do no fall into the ambit of high art? Why is that an artist who is painting in Bengal on a long scroll and carrying it house to house to tell a story not called as an artist and his work not seen as art? Why do we use categories like folk artists and tribal artists to denote their works? We see the high art in museums and galleries, but we collect the craft objects like objects of curiosities at our homes. There are well curated museums for high art, but folk/tribal arts/crafts are always housed in ethnographic museums.

This is a contentious issue in Indian art and art elsewhere. This issue has been addressed by few seminal curators previously, especially by Dr. Jyotindra Jain. In his exhibition Other Masters: Five Contemporary Folk and Tribal Artists of India, curated in the 90s, Dr. Jain takes a different look at this. Usually we are taught to see folk, tribal artists and craftspeople as artists who are stuck in tradition and who are not able to innovate themselves right. Dr. Jain made us see that there are artists who do not want to be part of a tradition and who do not belong to the recognition of the modern art world. They have an identity of their own. We have to respect that and not create the binaries of high art and folk art. Similarly, artist-curator J. Swaminathan has said that we should not treat their artistic expressions as just curious objects, because of their primitive character, instead we should treat them as contemporary expressions. If a patua painter is painting and narrating the story of Indira Gandhi’s death and the destruction of World Trade Towers in his work how is he a primitive artist? His or her expressions, concerns and thoughts are inclined towards the contemporary.

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Courtesy: Devi Art Foundation

In today’s Art1st’s “The Curator” series we will discuss Annapurna Garimella’s exhibition Vernacular in the Contemporary which opened up this question on the differences between high and folk art, and how can we understand this larger cultural production happening in India, which are situated outside the metropolises.

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Dr. Annapurna Garimella

The Curator #17

Curator: Dr. Annapurna Garimella (Jackfruit Research and Design)

Exhibition: Vernacular in the Contemporary: Working and Working Reflectively, 2010-2011

Venue: Devi Art Foundation

This exhibition used the collection of Anupam and Lekha Poddar of the Devi Art Foundation and also created newly commissioned works by artists who are often categorized as makers of folk, tribal and traditional art. It used a new term called the vernacular to denote this sphere where this cultural production is happening. ‘The exhibition focused on the vernacular and shifts the art historical and institutional terms for understanding and theorizing this cluster of visual art. Moreover, the show foregrounded the diversity and contemporary relevance of vernacular artists’ personas, ideas and concerns through ambitious projects’. This exhibition was the result of extensive field works, correspondences and it also carried out an extensive documentation of these artistic practices.

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Courtesy: Devi Art Foundation

 

But why can’t we use terms like folk art, tribal art, and native art anymore. Dr. Garimella has the answer. “Many of the artists are not tribals, so that’s inaccurate.” She says, “If a Madhubani painter uses tubes of paint manufactured in Japan, can you call that process of creating art native? I chose the term vernacular with care. It signifies a traditional art language without the limitations that the terms ‘folk’, ‘tribal’ or ‘native’ have.”

In order to to select the best folk and tribal artists from across the country, Devi Art Foundation and Garimella’s company, Jackfruit Research and Design didn’t go merely by reputation or recommendation. They place public notice was put out in newspapers, announcing a programme in art, much like the way universities seek applications for courses. In addition, suggestions were sought from DAF and colleagues working in art, NGOs in the field were consulted, newspapers were scanned, and the internet was scoured. Letters were sent out in a variety of regional languages, and 175 artists responded with portfolios. Finally, after conversations in a variety of languages, 30 artists were commissioned to create works for the show. So, there is Pata Chitra painting from Bengal and Orissa, Phad scrolls from Rajasthan, Chittara art from Sangam district in the Western Ghats, leather puppets from Dharmavaram in Andhra Pradesh, Bhuta sculptures from Karnataka, among a host of others. The show has been divided into two parts. The first part, titled ‘Working’, has 180 works by 32 artists. Part II of the exhibition, titled ‘Working Consciously, Working Reflectively’, opened in March 2011.

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Courtesy: Devi Art Foundation

Photographer Fawzan Husain who had documented this exhibition and the artists observed that this was the first time he was offered an assignment like this, and he grabbed it. “I remember meeting this leather puppet maker, S Anjaneyulu, in Dharmavaram village in Andhra. Leather puppet shows used to be the main form of entertainment here. Movies changed all that, of course. This man, perhaps, is the last such artist remaining. These puppets are usually 6-7 feet high, figures from the epics. It takes more than a week to create one. His sons cannot afford to carry on his legacy. Yet, this man continues to create, showing up cheerfully for work every day, let down perhaps, but not betrayed enough to abandon his art. I won’t forget that man’s face,” recounts Husain.

Sculptor L Rathakrishna has rendered the 108 karanas of the Natyashastra in bronze. This, possibly, is the first time this has been attempted by an artist other than in a temple: karanas are usually carved on the outside of a temple. So Shiva becomes less of a god, and more of a performer.

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Courtesy: Devi Art Foundation

You can read more of Dr. Garimella’s writings on the vernacular art here https://www.academia.edu/1777530/Do_what_you_will_-_Identity_exhibitions_and_contemporary_vernacular_art

https://www.academia.edu/1778077/Making_the_Exhibition

Also listen to her lecture https://vimeo.com/47226311

So friends, have a good weekend and happy Christmas in advance. Feel free to share, discuss your opinions about this series with us.

  • Premjish, Director-Outreach, Art1st.

 

 

 

 

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The Curator #13

The Curator #13

We have seen different ways of curating artworks. Today we will discuss what are retrospective exhibitions. Have you heard about retrospective exhibitions? The word retrospective means looking back at the past events or survey the past or take a stock of an artist’s works in the past. Similarly, a retrospective exhibition presents works from an extended period of an artist’s activity. Most of the time, this task is done by a museum or gallery, after the artist’s death or at a time when artist’s career reaches a milestone.

The task of the curator in a retrospective is to present the works of an artist in such a way so that the general public can understand his contributions to not only to the art world but also to the history and heritage of that region. So the curator has to show the works in a chronological way to display how the works of an artist evolve and mature over a period of time. How this progression can be seen along with many other progressions in the art world and history. The curator’s task therefore is to understand the artist’s work from the early period itself. Here the curator becomes like a detective trying to piece together each and every work of the artist, sometimes works which were supposed to be lost, assembling a series of memories, exchanges, ideas, etc. of the artist for the viewer. As I said earlier this is not easy task. Imagine if the artist has not signed a series of works from a particular period and no one has a clue about it. Now, how will the curator identify it and put it in a particular sequence of the timeline. It requires a careful study and also tremendous amount of expertise from the curator’s side.

In today’s Art1st’s “The Curator” series we will discuss about such a retrospective exhibition which took almost five years to mount. The five years went in detailed research on the artist Ramkinkar Baij’s life and works done by the artist K.S. Radhakrishnan who curated the Ramkinkar Retrospective at NGMA Delhi. This was the first exhibition which brought together more than 350 works of Ramkinkar Baij in one place giving it an art historical context with commendable scholarly input.

The Curator #13

K.S. Radhakrishnan

Ramkinkar Baij: A Retrospective, NGMA, 2012 

At the outset, let me tell you that Ramkinkar Baij was India’s most prolific and acclaimed modern artists. He was a painter, print maker, sculptor, designed sets for theatre, and mostly was a passionate human being. He is also considered as the first modernist sculptor. At a time when the nationalist clarion call echoed a backward march to tradition and indigenous mediums and visual idioms, Ramkinkar carved a niche for himself from the rest of the Bengal School by constantly acquainting himself with the unfamiliar terrain than the familiar and the experimental to the banality of life. The most notable fact about Ramkinkar Baij is that he was prolific. He sketched, and did water colour paintings all the time. When he was not making giant public sculptures, he would prepare its studies in drawings or experimenting on it in maquettes. Many times he was not able to afford painting materials, so he would paint on both surfaces of a canvas. He will forget to sign his works. Baij also used to gift his works to whoever he felt like giving. He lived in financially poor conditions and some times during heavy rains he would use his canvas paintings to cover the roof form where the water was trickling down. Besides these personal aspects of Baij, let me also tell you that his experiments with different styles is very eccentric. Usually art historians are able to bracket an artist’s works according to a particular style he or she adopts during a period. A change occurs after a particular time. In case of Baij, if one day he would create a painting in Expressionist style, the next work would be Cubist, in appearance. He was rigorously experimenting with style and visuals. Therefore it is a curator’s nightmare to assemble the works of Ramkinkar and put it in a legible form as an exhibition.

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K.S. Radhkarishnan is a prominent contemporary sculptor who has been part of important national and international exhibitions. He is known for his bronze sculptors. Radhakrishnan was trained under two important modern artists in Shantiketan – Ramkinkar Baij and Sarbari Ray Chowdhury. After Baij’s death he played an active role along with others in documenting his works which were scattered and archive them. In 2007, Radhakrishnan was selected by NGMA to curate the retrospective on Ramkinkar Baij. He says, “I started in 2007. I was commissioned by the Ministry of Culture. They asked if I would do it. I accepted happily because it’s like working on your teacher’s work. Also, Ramkinkar was a bachelor, so he had no children to look after his archive. In his case, it’s really his students who had to do that. I thought this would be a learning process for me. I knew I would be searching for things in a vast ocean, but I thought there was a big challenge in it. It’s always a great pleasure to work on someone who is so versatile and colorful. There’s much to be explored in terms of his life and work.”

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K.S. Radhakrishnan

Radhakrishnan notes that he started with the NGMA collection, which had documented a handwritten list containing merely titles, without any images. He started creating a database scanning every work and every page of Ramkinkar’s sketch books, most of which have never been exhibited. The idea was to photograph for documentation and also for publication purposes.

Since many of the remembered works at Santiniketan were missing, he started asking the people Kinkar da had associated with for leads. K.G. Subramanyan put me in touch with Nirmala Patwardhan in Pune, who directed me to her film-maker son Anand Patwardhan, who gave more names. It was virtually a house-to-house search. Like a detective he went around and found lost pieces of the greatest artist of modern India. In the absence of a chronology of works he went for subject and medium and used them as sub-categories. So you’ll find one room dedicated to drawings that led to the “Santhal Family” sculpture, then you’ll see oil paintings in another room. The corridors are like rivers flowing with watercolors, then there’s the two wings in between with the literature about him that then leads to the oil paintings section, then his life studies.

 

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“FRUIT GATHERERS”. A sculpture.

 

This excavation also resulted in the publication of a mammoth catalogue, with images of most of the documented works of Baij with years and titles. The text for the catalogue was written by noted art historian and curator R. Siva Kumar. Along with the main catalogue the exhibition also resulted in the publication of numerous other books on various aspects of Ramkinkar’s art. These were written by A. Ramachandran, Radhakrishnan, Johny M.L., et al. A documentary on Baij was also produced and screened along with an audio recording of Baij singing.

Radhakrishnan’s attempt was to rediscover Baij and present his entire oeuvre to the art world. He notes, “For a long time people knew of him as a sculptor, but they did not see his radical idiom in a larger context. That is getting established now. As a 32-year-old Ramkinkar made an integral structural composition of man, woman, child and dog (“Santhal Family”, 1938) at a time when the trend veered to viceroys’ busts and static statues in the Western realistic tradition. I would place him alongside Western masters such as Rodin. Today, many people know Kinkar da for his visible Yaksha and Yakshi figures outside the Reserve Bank of India on Delhi’s Parliament Street. Yet Ramkinkar was not happy with them since they ended up too rigid. By placing in the show a series of the sketches and models Kinkar da prepared before executing the final sculpture, I have tried to highlight the creative journey, which was always more important to him.”

Here is a link to a film made on Ramkinkar Baij by acclaimed director Ritwik Ghatak

Please share your thoughts about this article. Have a happy weekend.

  • Premjish, Director-Outreach, Art1st

 

The Curator #7

We all know that national galleries across the world represents the nationalist spirit of the country. It assembles works created from different regions and puts it together to imagine a shared past between these regions and art practices. This purpose of national galleries and museums becomes more instrumental in the context of newly liberated colonial countries. These institutions help newly formed nations to position themselves along with the already existing nation-states. While the history of the nation acts as a legitimate claim towards the past, these modern institutions herald the arrival of a new age, as a continuous process in the progress of the nation.

NGMA is the best repository of modern Indian art in this country. It has acquired works of Indian artists from the 19th century onwards, a bureaucratic exercise which continues towards the 20th century, representing important Indian artists from different states. The size of this collection representing different artists, movements, styles, and mediums is vast. It is a curator’s Disneyland and hell at the same time. The task of presenting this giant collection in a legible way to the public is not an easy task. But there are certain brilliant curators who have not stepped away from this arduous mission. In today’s issue of Art1st’s “The Curator,” we introduce you to a seminal exhibition in Indian art history curated by renowned art historian and curator Geeta Kapur.

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Title: Hundred Years: From the NGMA Collection

Curator: Geeta Kapur

NGMA, Delhi. 1994.

It is definitely an unnecessary task to introduce Geeta Kapur to my readers. You must have come across her important book “When Was Modernism?” at some point of your life. Geeta’s pathbreaking works on Indian art has received national and international acclaim and attention. She still remains the critical voice on Indian art on various international platforms.

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Geeta Kapur, Courtesy: Utharakalam

 

In the year 19994 she was invited to curate a show marking the hundred year journey of Indian art. In her own words, “The third project at the National Gallery of Modern Art came about in 1994 when I was invited as an honorary member of the NGMA advisory committee of to mount an exhibition from their holdings. I sifted through the Collection by physically looking at hundreds of works. My selection criteria was based on the idea of laying out an itinerary across 100 years — a walking/looking itinerary through modern Indian art. No works were borrowed from other collections, which means there was a constraint on choice; an expressly NGMA exhibition, it was what is called in standard museum language, a re-hang of the Collection.

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Hundred Years: From the NGMA Collection (Exhibition View), Courtesy: Asia Art Archive

The passage was mapped, predictably perhaps, from Ravi Varma until the most contemporary work available at the time. But the itinerary had its twists and turns; it was not laid out chronologically nor strictly by schools and styles. The spectator walked through a broadly delineated period and encountered unconventional and hitherto untested juxtapositions. To give one example, I placed Ravi Varma and Amrita Sher-Gil face to face in one room to suggest the ‘studio’ academicism in each, and then in another room, I installed Sher-Gil paintings beside Jamini Roy’s for an opposite ‘thesis’ — because they were contemporaries experimenting with a diverse range of Indian art-historical antecedents and arriving at certain abbreviations that placed them in a keen, tangential relationship to modernist language. I was, in other words, testing and revising our familiar art history — on the walls, in the act of traversal, through the act of looking. There is the art history of the text book, based on carefully sourced influences and the evidence of styles; there is another that reads signs and meanings in conjunctural ways. The latter is experienced phenomenologically, on museum walls and related spaces.”

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Hundred Years: From the NGMA Collection (Exhibition View), Courtesy: Asia Art Archive

In the curator’s working notes for the exhibition written in July 1994, Geeta Kapur writes:
‘Nothing serves the cause of investigation better than a point of view for seeing, refocusing, finding alternate perspectives. That is why even if it were possible, it would not be useful to present a conclusive exhibition. A great part of the history of modern art in India not having been written — yet— what we can do best of all is to re-place and sometimes also dis-place the images and their attendant signs and meanings. Thus one begins to make out from the unmade meanings a historical argument. Which is the form of history I, at any rate, would privilege.’

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Hundred Years: From the NGMA Collection (Exhibition View), Courtesy: Asia Art Archive

Participating artists included Raja Ravi Varma, Pestonji Bowmanji, Pithawala, Hemen Mazumdar, Xavier Trinidad, Sarada Ukil, Amrita Sher-Gil, Abanindranath Tagore, Masoji Vinayak, K.N. Mazumdar, Sunyani Devi, Karitick Pyne, Dhanraj Bhagat, Ramkinkar Baij, Bhabhesh Sanyal, Sailoz Mukherjee, K.H. Ara, Nandalal Bose, K.K. Hebbar, S.B. Palsikar, Mohan Samant, Laxman Pai, Gaganendranath Tagore, Leela Mukherjee, Jamini Roy, Binode Behari Mukherjee, Akbar Padamsee, F.N. Souza, Harkrishan Lall, Paramjit Singh, Prem Singh, Vajubhai Bhagat, P.T. Reddy, Bhupen Khakhar, Gulammohammed Sheikh, Laxma Goud, Bikash Bhattacharjee, Ravinder REddy, Prithipal Singh Ladi, Jayashree Chakravarty, Jagdish Chandra, K.C.S. Paniker, A. Ramachandran, Vivan Sundaram, N.N. Rimzon, Dilip Sur, S. Savarkar, Jaya Ganguly, V. Ramesh, Rabindranath Tagore, Zainul Abedin, Satish Gujram, K.G. Subramanyan, Meera Mukherjee, P.V. Janakiraman, Sarbari Roy Chowdhary, Himmat Shah, Latika Katt, Mrinalini Mukherjee, Raghav Kaneria, Himmat Shah, M.F. Husain, K.S. Kulkarni, Paritosh Sen, Pradosh Das Gupta, Bijon Choudhury, Ram Kumar, Krishen Khanna, Anupam Sud, Gieve Patel, Sudhir Patwardhan, Shamshad Husain, Vajubhai Bhagat, N.S. Bendre, Ganesh Pyne, Jogen Chowdhury, Manjit Bawa, Amitava Das, Nagji Patel, Arpana Cour, Gogi Saroj Pal, Ravinder Reddy, Vid Nayar, Zai Zharotia, Kanchan Chandra, Sanjiv Sinha, Madhvi Parekh, Prabhakar Barwe, K. Muralidharan, Manu Parekh, Satish Gujral, Jatin Das, Nareen Nath, P. Gopinath, S.R. Bhushan, Jehangir Sabavala, Vijay Mohan, Arpita Singh, Krishna Reddy, J. Swaminathan, S.G. Vasudev, K. Achuthan, P.T. Reddy, Haridasan, Om Prakash Sharma, G.R. Santosh, Jeram Patel, Rameshwar Broota, Biren De, S.H. Raza, Shobha Broota, Ambadas, K.C.S. Paniker, Vishvanadhan, Nasreen Mohamedi, Rm. Palaniappan, Bal Chhabda, Krishen Khanna, Rekha Rodwittiya, C.S. Douglas, Robin Mandal, Alex Mathew, N. Pushpamala, Tyeb Mehta, Jeram Patel, R.K. Dhawan, V.S. Gaitonde, Ram Kumar, Sankho Chowdhary, Prabhakar Kolte, Ramesh Pateria, and Akhilesh.

Nevertheless, Geeta’s redefining of the collection was not easily digested. Her ideas were way ahead for the time. Her curatorial strategies. non-chronological way of assembling works, especially juxtaposing them to create other interesting parallels was heavily criticised.

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A newspaper cutting of an article criticising Geeta Kapur’s exhibition. Courtesy: Asia Art Archive.

Despite these the exhibition remains as one of the important early attempts to re-define an existing institutional collection.

More images of the exhibition view are accessible at the Asia Art Archives website. http://www.aaa.org.hk/en/collection/search/archive/another-life-the-digitised-personal-archive-of-geeta-kapur-and-vivan-sundaram-hundred-years-from-the-ngma-collection/object/hundred-years-from-the-ngma-collection-exhibition-view-18823

Please take a look at them and see if you are able to identify the artists. Have a good weekend.

  • Premjish, Director-Outreach, Art1st

 

 

The Visionaries – 2

When we look at the historiography of Indian art and architecture the contributions of European administrators, collectors, and the self-styled archaeologists are valuable. But many of us are also unaware of the fact that the early European reaction to Indian art was fraught with a distasteful response to Indian art. In his seminal book “Much Maligned Monsters” art historian Partha Mitter talks about how the European travellers who encountered the sculptures of Indian gods and goddesses for the first time mistook them as the depiction of monsters and demons. They were also poorly judged for its lack of naturalism. Indian art was regarded as inferior to its western counterpart. He marks 1910 as “the great watershed” when Indian art became the object of respectful inquiries and studies “with its rehabilitation complete with the powerful affirmation of its aesthetic and not merely archaeological significance”. According to Mitter: “If one were to search for a name to give the credit for this extraordinary transformation, it would no doubt be that of Havell. It was his dedicated work which was in a large measure responsible for generating wide interest in learned circles.” E. B. Havell’s contribution in creating a counterpoint to the hegemony of western art and pedagogy is incredible though it came to much criticism later from the Indian circles itself. Nevertheless, Havell built strong foundations for Indian art education which foregrounded Indian art practices and enabled it to stand at par with the European art. His contributions in setting up institutions, revising curriculums and most importantly reviving the traditional Indian art forms was crucial in creating a nationalist response to the prejudiced sensibilities of the Europe. In this issue of Art1st’s “The Visionaries,” we introduce you to E.B Havell and his contributions to Indian art and education.

 

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E. B. Havell

Ernest Binfield Havell was an artist-educationist-reformist who played a significant role in repositioning Indian art in the history of world art. Havell came to India in 1884 to work as superintendent of School of Art, Madras. It was in Madras Havell began his career as an educationist and also turned into an ideologue and art historian. He reworked the curriculum of the school and introduced the study of Indian designs and decorative patterns into the course of study. In 1896, he was appointed as the Principal of Calcutta Art School, where he inspired his Indian students to get back to painting in their own style and tradition. Havell was making such assertions at a time when newer discoveries and studies on Indian paintings were made. New bodies of artworks, collections, and manuscripts were found through extensive field works by many pioneers. The nationalist movement was also slowly picking up the pace and was invested in an indigenous turn. Havell too came close to the Swadeshi ideas of art and culture.

 

After joining the Calcutta Art School he removed the European academic way of teaching. He remarked that ‘in India, painting must be Indian in attitude and spirit.’ Havell included Oriental art in the curriculum, which, according to him, should be the basis of all art instructions. He also introduced several new craft techniques such as fresco, stained glass windows, lacquer work, and stencils, so as to open a wide range of opportunities for which would allow students to earn a living. His aesthetic sense was strongly shaped by Indian philosophy and ideals of art. In his opinion, Indian sculptures, which are highly original and creative, could be ranked with the noblest creations of the West. It was these ideals and attitudes that had worked behind his reformative methods, which he introduced in the curriculum of art teaching.

His interactions and close connection with Abanindranath Tagore led to another significant chapter in the history of Indian art. The together pioneered a new visual style which was later on termed as the “Bengal Revivalism” steeped in Indian tradition. Ajanta paintings and Mughal miniatures were its inspiration, gouache was its predominant technique, Abanindranath its practitioner and Havell the foremost defender and ideologue. Havell wrote numerous books on Indian art and architecture emphasising the spiritual nature of Indian traditional art. In a report he submitted to the government, he stated that art appreciation has to be seen as a duty of every individual and not as mere pleasure. His recommendations were faced with strong opposition from the British regime. Despite this, he continued his crusade for pushing the ideals of Indian art. Eventually, Havell succeeded in convincing them of the importance of reviving the Indian craft tradition. Some of his important books are ‘Indian Sculpture and Paintings'(1908), ‘Ideals of Indian Art (1911), The Basis for Artistic and Industrial Revival in India (1912), The Ancient and Medieval Architecture of India: a study of Indo-Aryan civilization (1915), etc.

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Havell left India in 1905, on sick leave, and was later declared ‘unfit for service in India’ by the British regime. Havell’s removal from policy decisions did not deter him from voicing his vision for Indian art. He continued his campaign against the ignorance, philistinism and the arrogant cultural superiority of British administration in India.

Please read, share and discuss. Your opinion means a lot to us, so let us know what you think of this issue.

  • Premjish, Director-Outreach, Art1st

 

 

The Curator #1

Do you know that the word Curator means “a person who takes care of” or “the one who heals”? The primary task of a curator was to take care of a collection or a museum. But as times changed the practice of curating involved presenting a collection of works with an interesting theme or narrative. The practice also extended to works outside museums and institutions. Over the years curators have used collections to weave stories, re-define the idea of collections, present new art historical and visual possibilities to understand and see artworks. In this weekly series titled “The Curator”, updating every Saturday, we will introduce you to curators from India who are doing path-breaking works by using art collections and artworks to generate meaningful and participatory exhibitions.
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The Curator #1
Naman P Ahuja
Exhibition: Rupa-Pratirupa
The Body in Indian Art
Naman P Ahuja is the Professor of Ancient Indian Art and Architecture at Jawaharlal Nehru University, New Delhi. ‘The Body in Indian Art’ was a seminal show curated by him at Europalia in Brussels which later travelled to National Museum, Delhi. The show was important for the wide range of materials it brought together from different museums, galleries and collections across India (largest ever mounted at National Museum with over 350 objects) to address the complex idea about body referring to diverse Indian philosophies and spanning across many periods of history.
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It also foregrounded the plurality of our country by showcasing diverse views, beliefs and expressions in art on the idea of body. The exhibition was divided into eight thematic categories ranging from birth to death and also dealing with heroic bodies to ascetic bodies. Those who have missed the show could take a look at the catalog produced by National Museum which is also very affordable. It also comes with a CD featuring the exhibition music and soundtrack.
– Premjish, Outreach Director, Art1st