Nalini Malani. Remembering Toba Tek Singh. Four-channel video play with 12 monitors in tin trunks. 1998. Image courtesy of Nalini Malani. Collection of Fukuoka Asian Art Museum.
THIS ESSAY HAS BEEN TAKEN FROM VOLUME X, ISSUE 1, 2005. THIS WAS A SPECIAL ISSUE ON VIDEO ART.
Indian video art has arrived rather late on the global art scene. With a history of about a decade, there are more or less twenty-five artists who have made about 150 works. Browsing through the coffee-table book, Video Art in India (2003), published by the Apeejay Press, one tends to get the impression that Indian video art has substantial visibility within India. The book gives the impression that this relatively new art form has conquered a place next to painting and sculpture, for which there are booming markets. In fact, the book has covered only three evenings of Indian video art exhibitions - around ten exhibition hours, with an average of 200 to 300 visitors. Nonetheless, it frames important moments as far as this nascent art form in India is concerned.
The Indian Video Art: History in Motion (2004) catalogue, brought out by the Fukuoka Asian Art Museum, gives a clearer picture. Not only was this the first museum show of Indian video art abroad, but as can be seen from the extensive biographical notes, most of the individual presentations on display also made their debuts here. In fact, more than 85% of the videos made by Indian artists have been presented at forums abroad. All of this makes us feel that Indian video art is an art form in exile.
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Denne historien er fra March 2022-utgaven av Art India.
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Parts, Wholes And The Spaces In Between
Sonal Sundararajan introduces Samira Rathod's free-spirited and rebellious explorations in the world of architecture, furniture and design.
"The Fine Art of Going to the Pictures."
Dr. Banerjee in Dr. Kulkarni's Nursing Home at Chemould Prescott Road brings together 26 paintings featuring a series of dramatic scenes from Hindi and Bengali films. In conversation with Abhay Sardesai, artist Atul Dodiya talks about childhood trips to movie halls, painted figures gripped by tension, and the closeness and remoteness of cinematic images.
"To Finally Have Something of Your Own to Mine."
Dayanita Singh is the recipient of the coveted 2022 Hasselblad Award. Keeping the photograph at the centre, she speaks to Shreevatsa Nevatia about books, book objects, photo novels, exhibitions and museums.
OF DIVINE LOSS
Shaurya Kumar explores the relationship between the subject and object of devotion, finds Aranya.
THE PAST AND ITS SHADOWS
Neha Mitra visits two shows and three artists in Mumbai.
FORCE OF NATURE
Alwar Balasubramaniam dwells on absences and ephemeralities in his new work, states Meera Menezes.
SHAPES OF WATER
Devika Sundar's works delineate the murky, malleable boundaries between the human body and the organic world, says Joshua Muyiwa.
INTIMATIONS OF INTIMACY
Sunil Gupta shares his journey with Gautami Reddy.
THE FRACTURED PROSPECT
Nocturnal landscapes as ruins in the making? Adwait Singh looks at Biraaj Dodiya's scenes of loss.
TEETERING BEYOND OUR GRASP
Meera Menezes traces Mahesh Baliga's journey from Moodabidri to London.