The India Art Summit is here, but what’s in it for the collector – we do a SWOT analysis
Strengths: As India’s only pan-Indian platform for art, there’s no escaping its growing scale — 88 galleries, 34 from overseas, and 8,500 square feet of space. That it’s happening after a lag (it skipped its former schedule of August in 2010) has added to the excitement of art-lovers as they prepare to see works by Rodin, Chagall and Damien Hirst beside Sunil Gawde, Rekha Rodwittiya and Riyas Komu, listen to Anish Kapoor in dialogue, or get artists to sign books and catalogues at the art store.
Even though it is considered a hoi-polloi venue, its location at Pragati Maidan, in the heart of the city, is important. Had it been in a hotel, it would have got fewer footfalls. Pragati Maidan does not intimidate visitors, and part of the purpose of the summit is to expose more people, who may not come as buyers, to the universe of art.
The organisers have also made a case for this being the first art event in the calendar year at a time when it’s almost impossible for anything of any magnitude to be hosted in the Western hemisphere. That should add to the international presence and make it a more global event.
Weaknesses: The timing of the Republic Day Parade rehearsals close to the venue, and the security restrictions, could be potential downers. Though movement will only be impaired during the first half of the day, it could annoy those on short timetables, or wanting to attend discussions scheduled during those hours. And though there has been less-than-usual disruption of aviation and traffic movement this year, inclement weather could play spoilsport.
The organisers have done more than their bit for attracting attention, but there is one issue they might want to address — the advertising, which is in danger of being overlooked for being unimaginative. Instead, it’s the generous editorial coverage the event has generated that will get the janta to the fair in droves.
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Opportunities: The growing importance of the summit has meant that the quality of everything from art to discussions around art have got varied and richer. For the Indian collector, this is the best possible platform at which to see a diverse range of art and compare prices. How these play out will define the art market this year, and sales (or negotiations) should be an important clue to which artists are climbing up the collectorati scale, and those that are losing favour.
The summit has become the key point for the art fraternity to schedule events – Kiran Nadar’s Museum of Art shifts into a new location, from Noida to Saket; Saffronart makes its debut in the capital with a gallery-office at The Oberoi – and specially curated exhibitions and retrospectives around the city make it a delightful period for anyone with even a passing interest in art — Zarina Hashmi, Tyeb Mehta, Yusuf Arakkal, Ganesh Haloi: you can catch them all at shows in different locations.
Threats: None, really. However, there are some apprehensions that in the absence of a platform for the art industry, the art summit has started to assume that role. Typically, this has elicited some grumbles about it exceeding its mandate. The other fear is of cloning, as in the case of the fashion industry, which became fragmented as sponsors and designers began to play spoilsport and form rival camps and multiple fashion weeks and venues, resulting in confusion. For the first time there is some evidence of coherence where buyer and seller, art-lover and collector, critic and artist have got together. Let’s not rain on the party yet.
These views are personal and do not reflect those of the organisation with which the writer is associated.