A gigantic monkey with one finger pointing ominously towards the heavens stares back at you as soon as you enter the main enclosure in the 14th edition of the India Art Fair. This bronze sculpture by N. S. Harsha at the Chemould Prescott Road booth commanded a striking presence amidst the gaggle of visitors and collectors breathlessly taking ‘Art Fair selfies’ against the eclectic spread of artworks from across South Asia as backdrop.
The quiet confidence of the unnaturally large figure sitting leisurely, with one knee up on a plinth, served as an allegorical foil to the entire experience. It made me think of the fragile solipsistic narrative that grows between the viewer and the work of art. This moment of encounter is an embodiment of American theorist Sianne Ngai’s articulation of the ‘gimmick’ as form. Harsha’s prophetic monkey is ‘the artwork that interprets itself ”, collapsing meaning in a continuous cycle that shoots the circuit of aesthetic judgement and capital in today’s world.
The last edition of the IAF relocated the cultural importance of art in the country, drawing out collectors, artists, gallerists and rasiks after the ‘long, dark night’ of the pandemic. Beset by logistical difficulties, and the mechanics of managing large crowds and multiple delays, the management pulled out all stops to produce a memorable event. Speaking about IAF 2023, Director Jaya Asokan gestured to the rapidly evolving scope of the event, “This edition has been our most ambitious to date, with a fourth exhibition hall to accommodate an increase of gallery applicants and visitors.”
Denne historien er fra April 2023-utgaven av Art India.
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Denne historien er fra April 2023-utgaven av Art India.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
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.