Reasons for Organising The Intuitive-Logic II
HEART is concerned with helping to build an educational infrastructure for the Indian Contemporary Arts. This demands finding a new balance between creativity and economics, so as to transform idealism into material action. The sustainability of this effort comes through the institutionalizing process one will follow in the coming years. At present specific projects are being structured so as to lay a clear foundation.
Building an integrated institutional and educational framework in the arts, from scratch, without major corporate donations, or government funding, is not easy. To do so through pioneering projects and at a pace which most find unsustainable adds to the task. Yet many preconceptions have to be radically changed. Risks have to be taken.
Improving the quality, scale and pace of the activity, are three key areas to be tackled if action is to be sustained and attitudes changed. This requires the pursuance of infrastructure-building processes on a war footing; nothing less is acceptable. More than that, nothing less is viable for India.
At present HEART’s focus is upon the Indian contemporary fine arts. Regarding the financial infrastructure of Indian contemporary art, it is still in its infancy. Without a vibrant financial infrastructure for the arts, creating a credible educational base becomes difficult. Without a firm educational base there is little chance of contemporary culture and its creativity playing a key role in the nation’s development.
In this context auctions are one important trigger and mechanism in increasing awareness regarding the financial aspects of art. They can achieve this end by creating a fair buying and selling environment. However, this efficiency works in practice only if the subject under the hammer has a knowledgeable audience and the works on sale have a clear aesthetic credibility.
At this stage of infrastructure development, auctions on Indian modern and contemporary art should only sell key historical works which are required by art collectors, but not easily available in the open market. This act of knowledgeable discrimination is crucial in structuring the auction. At the same time it is the duty of the organizers to provide an educational perspective so as to deepen this understanding.
So far international auctions have not been able to create the kind of credible impact necessary, despite promoting a very important increase in awareness. To be fair it is not their duty. Thus the task before us is to firstly organize significant exhibitions-auctions within India so as to consolidate the interest domestically. Only after this phase can a serious international credibility emerge. The Indian public must be willing today significant prices for its own art. Only after observing such sustained activity will the international community give deeper momentum to the appreciation.
Also, an auction should set clear standards for pricing. The price paid at a credible auction becomes a benchmark, because competition and information has been fair and readily available, thereby generating a healthy demand and supply. This confidence then clarifies criteria for pricing, furthering a systematic appreciation of the subject, to be sustained through the network of schools, museums, galleries and dealers. However, today pricing in art occurs in a relatively insecure climate where many artists and dealers are haphazardly and arbitrarily increasing prices. Many play clever games with buyers, and when such prices are not sustained in public a lack of credibility affects all. The up and coming artists especially indulge in such practices, in the hope of creating a name for themselves. This financial jugglery compensates for a lack of belief that critical recognition will come their way. The long term consequences of such practices on art, aesthetics and its infrastructure are detrimental for all concerned. However, criticizing the issue only takes relevance if one can improve the situation, and open out new alternatives.
It is with immense reservation that I decided to organize this project. Only by believing in the key transitory role such an event can play in HEART’s wider vision have I sustained the motivation. Also, I realized that the knowledge and resources necessary to structure an internationally credible auction in India, without using a foreign auction house is not in the power of most organizations. Yet this is a situation that needs to be changed. Hopefully, one has structured an auction the nation will be proud to participate in, and in the process allow others, more committed to this field, to continue and improve the work.
Added to these objectives the fact that some funds will be raised by HEART does help. However, given we have not sponsored such a major event, and that we are only taking a percentage from the seller, and charging no buyer’s premium, the financial rewards will not be significant. Further, in needing to serve the art pricing issues, we have not even used our charitable status to distort the pricing, and so pieces of art will only be bought because of their inherent aesthetic value rather than directly supporting our cause.
I believe that charity, like any other discipline, must learn to fight its own material battles without a begging bowl or doing disservice to the area it seeks support from. This requires charity to understand more deeply the genuine power of its values and the ability to forge material bridges across the world within every sector of daily life. This can only be accomplished if a genuine love underlies the work, and that this love is somehow transformed into a vibrant inspirational force persuading strangers to go beyond themselves.
Charity and Creativity:
a few issues of action
In progressing along this path since returning home in 1993 I have come to believe that a few key principles for action need to be obeyed if one is to successfully help build an integrated educational infrastructure for India. Firstly, whatever action is taken, must be carried on at a national scale, to whatever extent feasible. This is the bare minimum starting point required for any universal relevance or vision. Given the need to be local-specific, it is all the more important to sustain this wider reach, thereby balancing the negative consequences of regionalized action and attitudes.
Secondly, this integrated effort must be able to simultaneously tackle and absorb many disparate & contradictory forces with an equanimity of attitude.
Thirdly, the pace of change must be initially seen as unsustainable, and yet somehow feasible, if attitudes are to be changed.
Fourthly, work must be accomplished as if no distinction exists between being the president or the prune. Whatever the degree of delegation, no effort can start and sustain anything in a developing nation without this all encompassing habit. No work must be seen as trivial, and yet time is scarce, and so how to evolve a sense of proportion? There are few previous guidelines to be used as reference at this point. Creating new standards seems inevitable.
Finally, if creativity and its aesthetics is to play a pivotal role in the development of our nation’s values then the process by which a movement is to be created must stem from a space outside the economic, government and corporate worlds, while simultaneously building new bridges within and with these sectors. This implies energizing an alternative value system which disciplines the economic and religious forces, thereby making them more effective.
Energising such a value-system demands that the creative mind takes on a complementary battle. Today, it is not enough to just impose on paper, canvas, film or stage one’s creative identity. The need id to build the dissemination process and infrastructure by which the creative expression reaches out, and is sustained for history to cut out new cultural traditions and institutions. In this task it is not enough to ask the corporate or government sectors to take on the process. They have their own priorities and constraints, and will implicitly subjugate and compromise aesthetics to their needs. Yet bridges need to be built.
One manner to proceed is a reliance on philanthropy. Yet philanthropy does not exist today. If it is to be rejuvenated many steps need to be systematically taken. It is this process of activating a voluntary redistribution of wealth, hand in hand with fostering economic growth, which alone can solve India’s chronic inequality.
Government welfare schemes are one manner, and present charity and NGO work is another. Nevertheless, this is far from sufficient. Charity needs to wake up, and realize the urgency of the task before itself.
Personally I have directed my efforts in building new links between creativity and charity. HEART has been structured to help institutionalize this process. These are early days and failure is as likely as any other possibility. After all, just about all of us can spark idealism in others at some point, and maybe even energise others to work together systematically, and share time and resources, for a short while. Yet, on the whole, that’s it. The togetherness soon breaks apart, individuals fail to institutionalise, and if something is built it fails to sustain its integrity amid the corrupting logic which surrounds.
So how does one try to change the situation?
To understand the relationship between creativity and economics is one area most are floundering amid. It requires a deeper re-examination. The nature of the dialogue between the modern cultural and corporate entities is still raw, despite India possessing a rich tradition of patronage and support for the arts. Essentially the relationship must be based upon mutual respect, and not need. Yet today need has left little room for respect.
Within the poorest urban sections commerce stops creativity. Few taunt hunger for art. Of those who manage, the gifted become legends, others await recognition, most survive on the joy of the process. For the mainstream commerce allows access; it allows creativity to communicate. It also dictates the process by which recognition gets established. It interferes and yet allocates. For the resourceful, creativity can become the weapon with which commerce is fought and disciplined. Creativity can allow the mind to detach itself from economic logic, and twist a rare fusion where both creativity and commerce are revealed as but stepping stones to the day. Whatever the relationship, artistic creativity and commerce must never marry.
Yet if commerce is to extend its hand with respect and humility, what does it gain? There are many ways and reasons how the economic system and society benefits from a vibrant creative culture.
The key virtue of the creative mind is that it grasps uncertainty with a rare freedom. There is the ability to allow uncertainty to reveal its own logic, as its own pace. There is no preconceived compulsion to find answers. As a result the wisdom and joys of the learning process are rarely subjugated for some final form. This focus on process allows trial and error to stay at the root of the creative logic. Self-criticism, that too with joy, however morose the personality, is the essence of sustaining the day.
It is this compulsion for self-criticism with joy which is at the heart of risk taking and experimentation. Each educational institute and corporate house needs to nurture this risk-taking attitude.
It is with this openness of mind that comes an environment which respects rationality, so creating platforms for positive criticism; an environment which learns to tolerate differences with empathy; is open to new ideas and international exchange with a greater zest for learning; is capable of tackling issues regarding ecology, population, gender, hygiene, and nutrition more effectively; is capable of disciplining the raw dogmas of superstition more calmly; is willing to respect another’s privacy and property as a clear rule; and is able to transform violence into quiet, where the only war waged is within.
These are the basic tenents of civilization building, and it is the growth of creative culture which deepens this process. Yet the process of transforming ideals into material action can no longer be leased out. The creative mind and intelligentsia need to break free once again from the complacency and disillusionment which seems deeply embedded in our day. We need to join hands whatever the differences and show the nation with clear material work the rare discipline a rigorous and idealistic mind possesses.
Friday, February 27, 2009
Wednesday, February 25, 2009
The Flamed Mosaic (1997)
1
To begin on a personal note. why should one have written such a book ? One did not know the a, b, c of Indian Contemporary Art in 1993, yet I have devoted the last three years of prime time to an unrelated subject. Why indeed? There are now many reasons; at the beginning, it was merely an instinctive curiosity. One came across Indian Contemporary Art just by chance in 1993 at one of those misleading auctions. Phases of obsessional buying were followed by periods of reflective unease. From sustaining this ebb and flow originated the urge to research and understand more deeply
A number of factors had brought my literary work to a crossroads. I was being accused
of excessive self-absorption with my own creativity. Spending time to understand the
creativity of strangers was one idea that struck me. The trigger came through Indian
contemporary art.
Being an ‘outsider’ to the art community there were few preconceptions. I realized,
that apart from the love and study of the subject, this book would also serve as a
relatively objective example to help clarify my perceptions regarding the significance of
aesthetics to daily life.
Some people have always been convinced that aesthetics and its and its creativity must be at
the heart of an education system. the aesthetic cannot be delinked from ideas
regarding the nature of uncertainty, freedom or the fearlessness of the mind. as a
result, aesthetics and ethics become two aspects of a single stream of consciosness.
there is in india a need to visualise, conceptualise and implement simultaneously , to
build an infrastructure which will nurture beyond all else this fearlessness of the mind.
this book represents a stone in the bridge of various forthcoming projects, such as a
series of 30 books on indian contemporary art and literature
The shortcoming in the book are many, despite an attempt to make it comprehensive.
not being an artist or art theorist naturally has its drawbacks. nevertheless one’s
aesthetic sence has been disciplined to serve a rigorous study.while the objective
context of contemporary indian art is sought to be presented, every work is forced into
incomplete selectivity, where many artists who demand greater attention are
neglected,and thosemore popular are included. one hopes that later works will rectify
the ongoing imbalance.
This book in its original format had included a deeper study of painting, sculpture,
graphics and mural art, but publishing practicalities demanded a rethinking .hopefully
the essence of the painting section has remained. nevertheless, the challenge of
maintaining the balance between intellectual rigour and creating a wider audience for
the subject, has induced certain compromises. even though the reading public for such
a book is relatively limited today, interest in the subject is developing rapidly. as a
result the structure of this book is intended to accommodate the lay reader, hand in
hand with the student and scholar.
I have also chosen to present my first meetings with various artists, rather than later
dialogues, in the form of abridged conversations. these occurred within a compressed
period of a few months during late 1993, when curiosity was raw, energy intense and
perceptions non – judgmental.
Yet in the end all text in a book on art is like an appendix to the illustrations, and one
has tried to bring new significant works to view. i hope it brings joy and a fuller
understanding of indian contemporary painting to the reader, and begins to make us
see the deeper relevance of contemporary art and its aesthetics to daily life.
2
India is unique. at the heart of this uniqueness lies the wisdom of universality. but
India today seems unable to build a value – system capable of nurturing her world view
and its unique universality.
One reason for this inability lies in the negligible role contemporary culture and
education has been expected to play in india’s daily life. in the urgency of alleviating
poverty the focus is on a narrow and mediocre agenda, dominated by indisciplined
economic and religious values. this can only exacerbate the country’s dilemmas and
increase the inequality.
Political apathy is reinforced by an inability of the cultural and educational
infrastructure to clearly express and nurture its values and relevance, in the wider
caontex of providing pride in a national identity.
Indian contemporary art, while evolving its mask and remaining true to a possible
universality , has imbibed nearly a century of artistic and non – artistic influences, visual
and non – visual, traditional and contemporary, local and universal. the vast diversity of
these influences, and the randomness with which each emerges in daily life, has led to
an unique style of absorption by most indian artists.
However, the infrastructure has fallen short of nurturing this contemporary language
despite efforts by a few gifted artists, scholars, bureaucrats, and connoisseurs. they
have not been able to clarify the links of artistic creativity with all aspects of life, nor
maintained aesthetic integrity on the scale required.
The heart of this integrity lies in the ability of creativity to fuse the popular with the
rigorous, the unique with the universal. in doing so it allows each to renew and deepen
itself. As long as this holistic integrity is not clear, the chances of aesthetics moulding
the values of society will be low.
However, given the growing interest in indian contemporary art and the potential
allocation of resources to the sector, there is a chance of building a cohesive network
which can link up with other cultural disciplines, helping to inspire, clarify and sustain
a more complete daily value – system for the nation’s development.
At present the logic by which the infrastructure has evolved reveals a highly
regionalised attitude, unconducive to the spirit of creativity. local proiorities are in
conflict, as no holistic vision which critically disciplines the local, holds credibility. we
have, paradoxically, regionalism going hand in hand with an economically enforced
globalisation, a narrow inwardness with a sluggish internationalism. globalisation, an
economic and technologically inspired movement, is unable to tackle the narrow
mental rigidities which build up in the mind when faced with a vast plurality of new
ideas and people
Hand in hand with this plurality, the daily violence and human indignity on every street
corner, makes visions of a vast unifying thread nonsence. when such a thread emerges
dogmatic notions of god come to stake claims, leading to a partial picture. however
change and continuity constantly seek balance. the wisdom of this balance depends on
the ability to institutionalize self- criticism. it is self- criticism which links change with
continuity. human creativity, especially artistic, most deeply recognizes the reach of
self- criticism and its relevance to our daily change-continuity continuum.
Further,artistic creativity also provides joy with the self- criticism, thereby infusing a
confidence in the process, so allowing it to be sustained deeper. It is this joy which
allows the artist to play with uncertainty before giving it a structure.Thus art, in its
wider sence, has the self-analysing depth to create anternative system which can
counterbalance the motivations and incentives of the economic system.
Once we have this equal platform where, besides economic activity, aesthetics also
provides discipline, the potential to temper material and religious excesses will become
a living force. Creativity will then euderpin the values of daily life. The issue is: how
does one create this platform from where aesthetics ensures, and is ensured an
Inspirational role?
Both East and West have tried throughout time to give creativity this pedestal, but it
was always unsustainable. The reasons are many, and before a renewed attempt gains
credibility, many attitudes have to be changed. Yet the change is inevitable, if
humanity continues upon the journey of knowing itself more deeply. After two world
wars this has been the modern dream, which has not been destroyed, only distracted.
The main reasons for this distraction is that instead of the fluidity of aesthetics
structuring life, we have the flexibility of economics dominating the day. Economics in
needing to precede the perceived luxury of a creative life, has set up an occupation
army of unparalleled dictatorship.
Yet economic values maintain a monopoly because of the flexibility they provide in
tackling the concrete,transforming intangibles into tangibles. The battle is to regain
control to discipline economics, so that it remains in its proper place, as a tool and a
medium of exchange, and not the moulder of human values.
Perhaps easier said than done, but there is the realization today that the grid upon
which economics generates knowledge and wisdom is inadequate. The world is full of
strong people involved with professional jobs or economic pursuits, yet as soon as
emotional trauma, spiritual awareness or aesthetic inetrrity are at stake,they collapse,
unable to handle such issues.
As a result, self- critical counterforces to the monopoly of economic values are weak.
this state of pessimism is ripe for a more sober idealism.
In a way , this realization has led to many economically less-developed nations
searching for new means of development, whereby one can earn the required wealth
while maintaining the holistic integrity of the individual. Unfortunately, in most of
these nations, faith has been the alternative to western models. Yet, the
possibilities are present. India stands at the threshold of such a possibility. Whether she
grabs the opportunity and inspires others is another story.
The key issue to India’s success will be the ability of the cultural and educational
sectors to stretch out for radical changes, and inspire the rest of the nation. Few can
believe, let alone visualise such a scenario, where aesthetics disciplines and pivotally
structures India’s developmental process. Yet, if the wisdom of the ordinary Indian can
be directed and motivated correctly it will not be impossible to fulfil this task.
3
As with all civilisation – building attempts, it will be India’s ability to handle uncertainty
which will determine the wisdom of her development. As a result, to continue with
what seems and unsustainable, to allow uncertainty to reveal its own rhythms,
becomes a core virtue in building a structure. Those who see reality as it is, are those
who have the patience to let things be, to wait and observe, for as long as possible, and
then act swiftly, simultaneously on many fronts.
In a way, each aspect of Indian life, from the mundane to the sublime, daily nurtures
our patience with anarchy and its seeming contradictions. Yet today our patience is
seen as a fatalistic weakness.
One is not romanticizing the injustice in any way, only stating the facts, for all
contradictions are given a balance in India, like nowhere else. To encapsulate this
balance, this ability to find harmony amid anarchy, we all try in acts trivial and
profound. The energy which absorbs and balances the outer mess is revealed in many
ways. This degree of balance is the uniqueness and overwhelming force of India.
The artist tries to capture the journey of this energy through imagery. The power of
what is captured can only be understood if one grasps the potency of the daily rhythm.
A thousand new impulses come from the most mundane deed. For example, take the act
of participating in Indian traffic, a daily ritual, and yet how it must affect the eye and
its hand, our sense of tension with the line, our textural impressions, sence of colour,
the depth of our vision.
Daily, we see road space cut into, pedestrians and dogs running across, from any corner,
dark or light. Various object which float upon the road: cars, carts, cows, scooters,
bicycles, trucks, rickshaws, stray dogs…all fuse into a rhythm. There is a manner by
which seeming chaos is transformed. A strolling cow sits down in the middle of the
crowded road, and suddenly she has become a roundabout, ordering the traffic. Of
course highways are desired, but such by – lanes need to be transversed with joy.
A family of four, baby in arms balancing on scooter, with the father taking risks which
are nat even seen as risks, with the mother smiling. Pregnant trucks loaded beyond logic
or legality, quietly sneak past highway patrols in the polluted night. Rickshaws pull
jeeps, carrying burdens heavier than should ever be. Families pleading to be squeezed
into corners where a modern toilet could not be accommodated, while some laze on
golfing gardens, as others mesh into the background, until theycannot be distinguished
from the dirt and dust they clean.
Marriage tents are erected in the middle of roads, so that traffic diverts, and civil
courtesy dissolves, while every urban corner is dotted with idols or toilets, so
conditioning our image of godliness, the mundane and omnipresent, common and
sublime, trivial and profound. For, to piss and to pray, there is no other way…faith and
scepticism, doubt and trust, in a continual lila… if the artist is to create, where is the
space which allows humanity to accept the upliftment ? How can creativity kindle
aesthetic energy amid such numb blankets of noise ? Can one be convinced that
creativity is indeed at the root of life’s rhythm…?
Yet India does provide this possibility. It somehow harnesses anarchy and its hidden
harmony. India forces one to treat uncertainty with a greater freedom. This is the
universal dilemma it tackles uniquely. This is the image the artists reveal in their
imagery.
Allowing uncertainty a pivotal role in the process, helps one visualise new related
rhythms. By encapsulating the daily ebb and flow of opposites the artist structures this
elusiveness, as if capturing the traces of air left behind by birds in flight…
India reveals a rhythmic unity where outer anarchy mirrors creative logic, encouraging
the artist to search out the deper reality. Representation takes meaning only when
one possesses this ability to let uncertainty reveal itself, disciplining the urge for
answers, withholding a desire to impose a structure, thus revealing an imagery which
taunts, renews, teases and delights simultaneously , fulfilling the joy of the creative
moment, and stringing together the delusions of the day.
This aesthetic energy holdswithin it a continuous sence of wonder. If this energy is
nurtured even when unsure of any tangible direction, infinite are the forms and images
that emerge.
Rabindranath Tagore probably best grasped this in his all encompassing creativity,
beginning to paint from mere doodles. Creativity lies within every individual, if only
their inner determination can be nurtured to balance and sustain the hand with a
combination of humility and confidence . This point of sustaining a doodle is critical. It
can become the trigger for people to realize their inherent creativity, a desire to
complete unfinished forms. Soon in the doodle , a line connects, a balance is created
here or an emptiness there, some shading follows, a bit of hesitancy, a new line,
maybe tangential, new connections link up, making a whole; then to break away, to
see it balance, to play with it, to try and give a meaning to it, or to stop looking for
meaning, to enjoy being free from wanting meaning, just moving with the flow. A
rhythm develops and the creative spirit finds a new outlet. On and on goes the play
within, and so,weeks, some months, years,down the line, as the pace is sustained
dissolving oneself amid vast energies, yet always alone, evolving a compassion for all
things, an intrest in all things,… So creativity may begin, from self-absorption the
first seeds of a selfless act are sown.
Soon there is an aesthetic delight, and an ethical awareness, without a tone of
judgement. Joy alone is the motivation, to translate the ideal into its material image,
to make the elusive moment sustainable, self-renewing, so that they become the pace
of the day, the energy which puts new life into the step, new hope I each act.
Later the artistic activity may indeed become the life force itself, indestructible,
always capable of inspiring the day. To create then is the very essence of life,… it is
this which clarifies freedom, for in the end it is about becoming free within; a freedom
which can only come with the fearless ability to absore everything, and yet remain
true to oneself. Even if one piece of the mosaic is missing, there is incompleteness, and
so anarchy, which itself is a joy, but that’s another tangent…
To begin on a personal note. why should one have written such a book ? One did not know the a, b, c of Indian Contemporary Art in 1993, yet I have devoted the last three years of prime time to an unrelated subject. Why indeed? There are now many reasons; at the beginning, it was merely an instinctive curiosity. One came across Indian Contemporary Art just by chance in 1993 at one of those misleading auctions. Phases of obsessional buying were followed by periods of reflective unease. From sustaining this ebb and flow originated the urge to research and understand more deeply
A number of factors had brought my literary work to a crossroads. I was being accused
of excessive self-absorption with my own creativity. Spending time to understand the
creativity of strangers was one idea that struck me. The trigger came through Indian
contemporary art.
Being an ‘outsider’ to the art community there were few preconceptions. I realized,
that apart from the love and study of the subject, this book would also serve as a
relatively objective example to help clarify my perceptions regarding the significance of
aesthetics to daily life.
Some people have always been convinced that aesthetics and its and its creativity must be at
the heart of an education system. the aesthetic cannot be delinked from ideas
regarding the nature of uncertainty, freedom or the fearlessness of the mind. as a
result, aesthetics and ethics become two aspects of a single stream of consciosness.
there is in india a need to visualise, conceptualise and implement simultaneously , to
build an infrastructure which will nurture beyond all else this fearlessness of the mind.
this book represents a stone in the bridge of various forthcoming projects, such as a
series of 30 books on indian contemporary art and literature
The shortcoming in the book are many, despite an attempt to make it comprehensive.
not being an artist or art theorist naturally has its drawbacks. nevertheless one’s
aesthetic sence has been disciplined to serve a rigorous study.while the objective
context of contemporary indian art is sought to be presented, every work is forced into
incomplete selectivity, where many artists who demand greater attention are
neglected,and thosemore popular are included. one hopes that later works will rectify
the ongoing imbalance.
This book in its original format had included a deeper study of painting, sculpture,
graphics and mural art, but publishing practicalities demanded a rethinking .hopefully
the essence of the painting section has remained. nevertheless, the challenge of
maintaining the balance between intellectual rigour and creating a wider audience for
the subject, has induced certain compromises. even though the reading public for such
a book is relatively limited today, interest in the subject is developing rapidly. as a
result the structure of this book is intended to accommodate the lay reader, hand in
hand with the student and scholar.
I have also chosen to present my first meetings with various artists, rather than later
dialogues, in the form of abridged conversations. these occurred within a compressed
period of a few months during late 1993, when curiosity was raw, energy intense and
perceptions non – judgmental.
Yet in the end all text in a book on art is like an appendix to the illustrations, and one
has tried to bring new significant works to view. i hope it brings joy and a fuller
understanding of indian contemporary painting to the reader, and begins to make us
see the deeper relevance of contemporary art and its aesthetics to daily life.
2
India is unique. at the heart of this uniqueness lies the wisdom of universality. but
India today seems unable to build a value – system capable of nurturing her world view
and its unique universality.
One reason for this inability lies in the negligible role contemporary culture and
education has been expected to play in india’s daily life. in the urgency of alleviating
poverty the focus is on a narrow and mediocre agenda, dominated by indisciplined
economic and religious values. this can only exacerbate the country’s dilemmas and
increase the inequality.
Political apathy is reinforced by an inability of the cultural and educational
infrastructure to clearly express and nurture its values and relevance, in the wider
caontex of providing pride in a national identity.
Indian contemporary art, while evolving its mask and remaining true to a possible
universality , has imbibed nearly a century of artistic and non – artistic influences, visual
and non – visual, traditional and contemporary, local and universal. the vast diversity of
these influences, and the randomness with which each emerges in daily life, has led to
an unique style of absorption by most indian artists.
However, the infrastructure has fallen short of nurturing this contemporary language
despite efforts by a few gifted artists, scholars, bureaucrats, and connoisseurs. they
have not been able to clarify the links of artistic creativity with all aspects of life, nor
maintained aesthetic integrity on the scale required.
The heart of this integrity lies in the ability of creativity to fuse the popular with the
rigorous, the unique with the universal. in doing so it allows each to renew and deepen
itself. As long as this holistic integrity is not clear, the chances of aesthetics moulding
the values of society will be low.
However, given the growing interest in indian contemporary art and the potential
allocation of resources to the sector, there is a chance of building a cohesive network
which can link up with other cultural disciplines, helping to inspire, clarify and sustain
a more complete daily value – system for the nation’s development.
At present the logic by which the infrastructure has evolved reveals a highly
regionalised attitude, unconducive to the spirit of creativity. local proiorities are in
conflict, as no holistic vision which critically disciplines the local, holds credibility. we
have, paradoxically, regionalism going hand in hand with an economically enforced
globalisation, a narrow inwardness with a sluggish internationalism. globalisation, an
economic and technologically inspired movement, is unable to tackle the narrow
mental rigidities which build up in the mind when faced with a vast plurality of new
ideas and people
Hand in hand with this plurality, the daily violence and human indignity on every street
corner, makes visions of a vast unifying thread nonsence. when such a thread emerges
dogmatic notions of god come to stake claims, leading to a partial picture. however
change and continuity constantly seek balance. the wisdom of this balance depends on
the ability to institutionalize self- criticism. it is self- criticism which links change with
continuity. human creativity, especially artistic, most deeply recognizes the reach of
self- criticism and its relevance to our daily change-continuity continuum.
Further,artistic creativity also provides joy with the self- criticism, thereby infusing a
confidence in the process, so allowing it to be sustained deeper. It is this joy which
allows the artist to play with uncertainty before giving it a structure.Thus art, in its
wider sence, has the self-analysing depth to create anternative system which can
counterbalance the motivations and incentives of the economic system.
Once we have this equal platform where, besides economic activity, aesthetics also
provides discipline, the potential to temper material and religious excesses will become
a living force. Creativity will then euderpin the values of daily life. The issue is: how
does one create this platform from where aesthetics ensures, and is ensured an
Inspirational role?
Both East and West have tried throughout time to give creativity this pedestal, but it
was always unsustainable. The reasons are many, and before a renewed attempt gains
credibility, many attitudes have to be changed. Yet the change is inevitable, if
humanity continues upon the journey of knowing itself more deeply. After two world
wars this has been the modern dream, which has not been destroyed, only distracted.
The main reasons for this distraction is that instead of the fluidity of aesthetics
structuring life, we have the flexibility of economics dominating the day. Economics in
needing to precede the perceived luxury of a creative life, has set up an occupation
army of unparalleled dictatorship.
Yet economic values maintain a monopoly because of the flexibility they provide in
tackling the concrete,transforming intangibles into tangibles. The battle is to regain
control to discipline economics, so that it remains in its proper place, as a tool and a
medium of exchange, and not the moulder of human values.
Perhaps easier said than done, but there is the realization today that the grid upon
which economics generates knowledge and wisdom is inadequate. The world is full of
strong people involved with professional jobs or economic pursuits, yet as soon as
emotional trauma, spiritual awareness or aesthetic inetrrity are at stake,they collapse,
unable to handle such issues.
As a result, self- critical counterforces to the monopoly of economic values are weak.
this state of pessimism is ripe for a more sober idealism.
In a way , this realization has led to many economically less-developed nations
searching for new means of development, whereby one can earn the required wealth
while maintaining the holistic integrity of the individual. Unfortunately, in most of
these nations, faith has been the alternative to western models. Yet, the
possibilities are present. India stands at the threshold of such a possibility. Whether she
grabs the opportunity and inspires others is another story.
The key issue to India’s success will be the ability of the cultural and educational
sectors to stretch out for radical changes, and inspire the rest of the nation. Few can
believe, let alone visualise such a scenario, where aesthetics disciplines and pivotally
structures India’s developmental process. Yet, if the wisdom of the ordinary Indian can
be directed and motivated correctly it will not be impossible to fulfil this task.
3
As with all civilisation – building attempts, it will be India’s ability to handle uncertainty
which will determine the wisdom of her development. As a result, to continue with
what seems and unsustainable, to allow uncertainty to reveal its own rhythms,
becomes a core virtue in building a structure. Those who see reality as it is, are those
who have the patience to let things be, to wait and observe, for as long as possible, and
then act swiftly, simultaneously on many fronts.
In a way, each aspect of Indian life, from the mundane to the sublime, daily nurtures
our patience with anarchy and its seeming contradictions. Yet today our patience is
seen as a fatalistic weakness.
One is not romanticizing the injustice in any way, only stating the facts, for all
contradictions are given a balance in India, like nowhere else. To encapsulate this
balance, this ability to find harmony amid anarchy, we all try in acts trivial and
profound. The energy which absorbs and balances the outer mess is revealed in many
ways. This degree of balance is the uniqueness and overwhelming force of India.
The artist tries to capture the journey of this energy through imagery. The power of
what is captured can only be understood if one grasps the potency of the daily rhythm.
A thousand new impulses come from the most mundane deed. For example, take the act
of participating in Indian traffic, a daily ritual, and yet how it must affect the eye and
its hand, our sense of tension with the line, our textural impressions, sence of colour,
the depth of our vision.
Daily, we see road space cut into, pedestrians and dogs running across, from any corner,
dark or light. Various object which float upon the road: cars, carts, cows, scooters,
bicycles, trucks, rickshaws, stray dogs…all fuse into a rhythm. There is a manner by
which seeming chaos is transformed. A strolling cow sits down in the middle of the
crowded road, and suddenly she has become a roundabout, ordering the traffic. Of
course highways are desired, but such by – lanes need to be transversed with joy.
A family of four, baby in arms balancing on scooter, with the father taking risks which
are nat even seen as risks, with the mother smiling. Pregnant trucks loaded beyond logic
or legality, quietly sneak past highway patrols in the polluted night. Rickshaws pull
jeeps, carrying burdens heavier than should ever be. Families pleading to be squeezed
into corners where a modern toilet could not be accommodated, while some laze on
golfing gardens, as others mesh into the background, until theycannot be distinguished
from the dirt and dust they clean.
Marriage tents are erected in the middle of roads, so that traffic diverts, and civil
courtesy dissolves, while every urban corner is dotted with idols or toilets, so
conditioning our image of godliness, the mundane and omnipresent, common and
sublime, trivial and profound. For, to piss and to pray, there is no other way…faith and
scepticism, doubt and trust, in a continual lila… if the artist is to create, where is the
space which allows humanity to accept the upliftment ? How can creativity kindle
aesthetic energy amid such numb blankets of noise ? Can one be convinced that
creativity is indeed at the root of life’s rhythm…?
Yet India does provide this possibility. It somehow harnesses anarchy and its hidden
harmony. India forces one to treat uncertainty with a greater freedom. This is the
universal dilemma it tackles uniquely. This is the image the artists reveal in their
imagery.
Allowing uncertainty a pivotal role in the process, helps one visualise new related
rhythms. By encapsulating the daily ebb and flow of opposites the artist structures this
elusiveness, as if capturing the traces of air left behind by birds in flight…
India reveals a rhythmic unity where outer anarchy mirrors creative logic, encouraging
the artist to search out the deper reality. Representation takes meaning only when
one possesses this ability to let uncertainty reveal itself, disciplining the urge for
answers, withholding a desire to impose a structure, thus revealing an imagery which
taunts, renews, teases and delights simultaneously , fulfilling the joy of the creative
moment, and stringing together the delusions of the day.
This aesthetic energy holdswithin it a continuous sence of wonder. If this energy is
nurtured even when unsure of any tangible direction, infinite are the forms and images
that emerge.
Rabindranath Tagore probably best grasped this in his all encompassing creativity,
beginning to paint from mere doodles. Creativity lies within every individual, if only
their inner determination can be nurtured to balance and sustain the hand with a
combination of humility and confidence . This point of sustaining a doodle is critical. It
can become the trigger for people to realize their inherent creativity, a desire to
complete unfinished forms. Soon in the doodle , a line connects, a balance is created
here or an emptiness there, some shading follows, a bit of hesitancy, a new line,
maybe tangential, new connections link up, making a whole; then to break away, to
see it balance, to play with it, to try and give a meaning to it, or to stop looking for
meaning, to enjoy being free from wanting meaning, just moving with the flow. A
rhythm develops and the creative spirit finds a new outlet. On and on goes the play
within, and so,weeks, some months, years,down the line, as the pace is sustained
dissolving oneself amid vast energies, yet always alone, evolving a compassion for all
things, an intrest in all things,… So creativity may begin, from self-absorption the
first seeds of a selfless act are sown.
Soon there is an aesthetic delight, and an ethical awareness, without a tone of
judgement. Joy alone is the motivation, to translate the ideal into its material image,
to make the elusive moment sustainable, self-renewing, so that they become the pace
of the day, the energy which puts new life into the step, new hope I each act.
Later the artistic activity may indeed become the life force itself, indestructible,
always capable of inspiring the day. To create then is the very essence of life,… it is
this which clarifies freedom, for in the end it is about becoming free within; a freedom
which can only come with the fearless ability to absore everything, and yet remain
true to oneself. Even if one piece of the mosaic is missing, there is incompleteness, and
so anarchy, which itself is a joy, but that’s another tangent…
Tuesday, February 24, 2009
These are the points we would like to make in response to the article “Premier art houses under I-T scanner” in The Mint on 24 February 2009:
http://www.livemint.com/2009/02/24234446/Premier-art-houses-under-IT-s.html?h=A1
“The allegations made by your source are clearly false and defamatory.
We at Osian’s have never ever even had or facilitated one rupee of 'cash' transactions, and the whole art world knows that fact clearly. It has been our mission to destroy the black economy and build a fully accountable and transparent framework for the arts and culture of India over the last ten years.
The so called 15 crore ‘fake’ purchases you refer to is absolutely incorrect. These transactions were made to Gallery 7, a twenty year old gallery, and his associate art dealer called Rashesh Shah, for purchase of artworks, by artists such as J. Swaminathan, SH Raza, Ramkumar, A. Padamsee, V.S. Gaitonde, Jogen Chowdhury, Atul Dodiya, among others. Like with many galleries and dealers they told us that they would like to directly invoice Osian's from their clients company as they do not own the artwork. Further, we were told that the client will pay them their commission. All transactions were fully paid in cheque and all artworks physically handed over to Osian’s. The IT dept two years later told us that these clients of Gallery 7 and Mr. Shah were not genuine art collectors but ‘benami’ parties. We have never dealt with Gallery 7 and Mr Shah thereafter.
There is no question at all of Osian's creating bogus turnover or synchronized trading to rig up prices. It is totally against our ethos and the very reason for why we exist. Naturally, there are many people who bought art for investment and hence re-selling is part of the process. That is absolutely normal.
Regarding the investors in the Osian’s Art Fund, every investor filled up a detailed form with PAN and bank account details, bank references and all legal requirements. Every document was given to the authorities, every payment was in full cheque. Your claim is absolutely not true. The success of the Osian’s Art Fund has naturally made many upset. Many fear that art funds will soon become public platforms, and so help further destroy the black economy. At the same time, the levels of disclosure set by the Osian’s Art Fund make us easy targets.
To fight the corruption and improve the system with integrity requires guts. At present the atmosphere has become such that the more honest and upright you are the greater the backlash. We have come to accept this process. However criticizing the system is not in Osian’s nature, we are here to build an alternative, create a new framework, and accept the consequences of that journey.
India still has the world’s largest black economy for antiquities, the largest material cultural heritage in the world and still not even 1% of it exists legally on paper. Most of our laws pertaining to antiquities and art treasures were drafted during the paranoia of the Emergency. That has to fundamentally change. To change this framework is not easy. From importing our art back into India to valuation and authenticity issues, these are burdens which the government machinery cannot handle without genuine private sector involvement, and yet the private-public partnership, despite some positive examples, is still rooted in lack of mutual respect.
Naturally, any private organization which will try to take on changing this system will be under constant attack. A new knowledge-base and full flow of information must be at the root of financial benchmarking in art. Hence Osian’s work has focused on archiving, public auctions, publications, exhibitions, festivals and art funds. These are all platforms to open and rebuild the system.
Accusations based on 1% fact and 99% distortion, have become the norm. Many machines, public and private, now thrive on passing half baked truths to destroy reputations. The success of the corrupt system is when it breaks the leader who wishes for change. Thus a constant conflict is inevitable until this framework evolves into something of pride for all of us.
Neville Tuli, Chairman – Osian’s.”
“The allegations made by your source are clearly false and defamatory.
We at Osian’s have never ever even had or facilitated one rupee of 'cash' transactions, and the whole art world knows that fact clearly. It has been our mission to destroy the black economy and build a fully accountable and transparent framework for the arts and culture of India over the last ten years.
The so called 15 crore ‘fake’ purchases you refer to is absolutely incorrect. These transactions were made to Gallery 7, a twenty year old gallery, and his associate art dealer called Rashesh Shah, for purchase of artworks, by artists such as J. Swaminathan, SH Raza, Ramkumar, A. Padamsee, V.S. Gaitonde, Jogen Chowdhury, Atul Dodiya, among others. Like with many galleries and dealers they told us that they would like to directly invoice Osian's from their clients company as they do not own the artwork. Further, we were told that the client will pay them their commission. All transactions were fully paid in cheque and all artworks physically handed over to Osian’s. The IT dept two years later told us that these clients of Gallery 7 and Mr. Shah were not genuine art collectors but ‘benami’ parties. We have never dealt with Gallery 7 and Mr Shah thereafter.
There is no question at all of Osian's creating bogus turnover or synchronized trading to rig up prices. It is totally against our ethos and the very reason for why we exist. Naturally, there are many people who bought art for investment and hence re-selling is part of the process. That is absolutely normal.
Regarding the investors in the Osian’s Art Fund, every investor filled up a detailed form with PAN and bank account details, bank references and all legal requirements. Every document was given to the authorities, every payment was in full cheque. Your claim is absolutely not true. The success of the Osian’s Art Fund has naturally made many upset. Many fear that art funds will soon become public platforms, and so help further destroy the black economy. At the same time, the levels of disclosure set by the Osian’s Art Fund make us easy targets.
To fight the corruption and improve the system with integrity requires guts. At present the atmosphere has become such that the more honest and upright you are the greater the backlash. We have come to accept this process. However criticizing the system is not in Osian’s nature, we are here to build an alternative, create a new framework, and accept the consequences of that journey.
India still has the world’s largest black economy for antiquities, the largest material cultural heritage in the world and still not even 1% of it exists legally on paper. Most of our laws pertaining to antiquities and art treasures were drafted during the paranoia of the Emergency. That has to fundamentally change. To change this framework is not easy. From importing our art back into India to valuation and authenticity issues, these are burdens which the government machinery cannot handle without genuine private sector involvement, and yet the private-public partnership, despite some positive examples, is still rooted in lack of mutual respect.
Naturally, any private organization which will try to take on changing this system will be under constant attack. A new knowledge-base and full flow of information must be at the root of financial benchmarking in art. Hence Osian’s work has focused on archiving, public auctions, publications, exhibitions, festivals and art funds. These are all platforms to open and rebuild the system.
Accusations based on 1% fact and 99% distortion, have become the norm. Many machines, public and private, now thrive on passing half baked truths to destroy reputations. The success of the corrupt system is when it breaks the leader who wishes for change. Thus a constant conflict is inevitable until this framework evolves into something of pride for all of us.
Neville Tuli, Chairman – Osian’s.”
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