Art in India is moving out of the white cube space

A mix of both young and old art enthusiasts with their initiatives–digital and otherwise–are levelling the field for artists and art lovers alike

Walking down the narrow bylanes of Mumbai’s Pali Hill in October, one stumbled upon a curious scene painted on the side of a cobbler's shop. It was about the opening of an art space—the guerilla marketing for the launch of Art and Charlie in one of Bandra’s busiest but also hippest neighbourhoods did not go unnoticed. The concept of having art encapsulated within four walls seems to be slowly getting dated, especially as a string of art-related events take it beyond the white cube—such as the Kochi-Muziris Biennale, an international exhibition of contemporary art that takes place every two years, to India’s first museum biennale at Bihar. 

The world’s a stage

The size and location of a space or site are hardly a predisposition, as increasing footfalls at  festivals such as the Irregular Arts Fair in New Delhi show. The recently concluded AF Weekender which was held from 23rd to 25th September, was an example of experiential events that used both digital and in-person platforms to unite art lovers and galleries across the country. A product of India’s first visual arts discovery platform, Art Fervour creates user-friendly experiences to make the arts accessible to all. Started last year as a virtual affair, AF Weekender now has over 60 participants from across the art world. What is unique about their collaborative approach is that they grew as an institution by building a community on social media platforms, especially on Instagram. 

New-age patrons

One might argue that art has always been accessible to all in India, given our historic community of artisans and handicrafts maestros and longstanding tradition of patrons and benefactors.

Historically, South Asia has seen less documentation and more storytelling, and art has been a way for us to bridge the past with the future. Indigenous art forms are still ever-present and festivals like Durga Puja in Kolkata have recently been included in UNESCO's Intangible Cultural Heritage of Humanity. But other examples of art in public spaces in the Indian context can also be seen in institutions such as the Mehrangarh Fort and Museum by the royal family of Jodhpur, which was established in 1972 by the 36th Custodian of Marwar-Jodhpur, H H Maharaja Gaj Singhji, to make the fort come alive for visitors, to initiate cross-collaboration and invite new ideas. 

The idea of palaces as accessible museums of public interest and spaces of public discourse is taken a notch higher with the advent of technology embraced by its custodians. H H Priyadarshini Raje Scindia’s family owns Jai Vilas Palace, a 200-year-old palace-turned-museum in Madhya Pradesh, India. She is planning an NFT collection produced by local artists to fund a metaverse experience.

Veeranganakumari Solanki, a curator and art writer whose projects consider history as a vital part of understanding changing movements and art forms says, “Outside of art spaces and events becoming more conscious of physical and sensorial accessibility, there has also been a focus on intergenerational and cross or transdisciplinary access. For instance, it's not just about reaching out to an audience that is already conditioned to look at art but also about inviting newer audiences in, and this could be through mediums such as sound, food, AI, technology and, most importantly, interaction, since it is through interaction that memories get integrated more deeply.”

Commenting on experiential festivals, Sangita Jindal, philanthropist, chairperson of the JSW Foundation and president of ART India shares, “They are fulfilling a very important educational purpose for so many young and lay audiences who are being drawn into finding out more about art and art practice in engaging and interactive ways. Activities like this make the (oftentimes) niche and complex world of art more accessible in every way.” 

On the overarching impact, Jindal adds, “I also feel such activities serve a larger cultural purpose by bringing so many different types of viewers together into the art space. By looking at art and engaging with it on a regular basis, we train ourselves to really see and appreciate it, to even, perhaps, collect and treasure it. We most definitely learn that art is important to nurture because it is an extension of us as a culture, a community and as individuals.

ART India has performed an important role in the South Asian art world, helping create a forum for an inspired interaction between artists, critics, historians, architects, writers and collectors. Now, with their newly launched education vertical, Jindal hopes to invite students and teachers to participate in the process of continuous learning, an ideal she firmly believes in.

Emerging voices

To speak on access in the art world and increase visibility, it is imperative to blur the line between craft and commerce. With the global pandemic inhibiting in-person events and sounding the death knell on many museums and galleries, peer-supported activities in artist communities are on a rise. 

Art Chain India was co-founded by artists Ayesha Singh and Purvai Rai, born out of multiple conversations that took place between practitioners working within the visual arts in India. It is an online community for artists to receive consistent support and form global solidarities among artist communities. New Delhi-based Singh shares, “Many reviewers and advisors work with us and volunteer to support artist practices, including architects, curators, gallerists, lawyers and writers. We share our resources, networks, information and money earned with one another through a pay-it-forward format. We also helped with founding Art Chain Bangladesh and Art Chain Pakistan and are currently speaking with artists in Poland and Miami who are interested in starting equivalents in their regions”. 

Another emerging talent who is passionate about retelling stories often overlooked and being able to create space for new voices through unique platforms is Brijeshwari Kumari Gohil, an experienced art and heritage consultant with a demonstrated history of working in the museums and heritage industry. She is the current vice-president of the Prinseps Auction House and Gallery and founder of the Bhavnagar Heritage Preservation Society. Speaking about the auction world, Gohil dwells upon what it means to democratise the arts world. “There is still a focus on a few players that hold a shared monopoly and there are a few artists everyone is focusing on. At Prinseps, a new auction house started in 2017, we are still focussing on modern artists and are not in the contemporary realm as much. We are highlighting artists like Bhanu Athiya, who was known for her costume design but not her merit as an independent artist. Her art needs to be reexamined and we need to question why these artists were not as valued or why they did not get their due. We believe by documenting these artists and their work, and valuing those  who were forgotten, we can equal the playing field, especially when they have left such an impactful legacy. Auction houses like SaffronArt are also doing this through Story Ltd, where they are bringing young artists to the forefront,” she explains.

A key voice in the milieu of festivals and events that are disrupting the arts space is St+art India. Their innovative approach to showcase artists and breathe life into neighbourhoods such as Lodhi District in New Delhi or Sassoon Docks in Mumbai is quite the scene-stealer of the season. Giulia Ambrogi, co-founder and curator of St+art India, speaking on her vision for the platform, says, “We believe collaboration in our circle is essential, especially in the creative industries in India that are not always recognised as important and possible income-generators for the country. Collaborating is the way to gather people and integrate ourselves into new communities. The way we make ourselves more accessible is to go into places where art is not ‘supposed to be,’ or places which are forgotten, neglected or marginalised for different reasons but are still functional and are important for the history of the city.” 

With more serious thought being given to India’s role in the art world, art is not just the navigator but the mirror by which we observe our role in this moment in time. It is a critical measurement tool in assessing how we would like to be remembered by the pages of history.

Ambrogi puts it aptly, “We are in a moment where diversity is key; it is critical to press art and culture to the forefront to invigorate thought and allow different perspectives to come together. Culture is crucial for perspective and it is inspiring to see more people enter the art and culture panorama. After the global pandemic, we should connect in a physical space alongside digital and relearn what togetherness means once again.” 

As India is establishing itself on the world stage, art becomes a commentary of geopolitics and of the human experience itself. It is every person’s right to be able to freely express themselves, and the multiple platforms emerging are just the tipping point, illuminating a country of multiple tones and tongues. If the cascade of art festivals across South Asia are any indication—along with the valves being opened by state governments, new-age institutions and artists themselves—it goes on to show that India’s underbelly is waiting to roar in a myriad of colours and moulds.

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