Delhi's art musings

My friend, sculptor K S Radhakrishnan, a former student of the legendary modernist Ramkinkar Baij of Santiniketan, has bequeathed the capital an exhibition celebrating 100 years of its art school, Kala Bhavana. Rabindranath Tagore's university was one of the most vocal exponents for the creation of a new art idiom, and there could have been no better person than Radhakrishnan to lend it heft. On view at Ojas Art, Radhakrishnan's previous curatorial outing celebrated Baij's practice at the National Gallery of Modern Art in New Delhi. Baij's most significant works in the city are the two colossal stone sculptures in the neo-classical style titled Yaksha and Yakshi and placed at the entrance of the Reserve Bank of India.

This is the time of the year when the art fraternity puts on its best face to step out for the annual India Art Fair, but just as important are the collateral events that happen around the city. Several significant exhibitions are currently on, and those who find Yaksha and Yakshi interesting will be drawn to Ravinder Reddy's exhibition at Vadehra Art Gallery. Reddy returns to New Delhi with his primal fiberglass figures after a gap. The voluptuous, totemic heads and torsos of women are at once alluring as well as faintly threatening — a frisson most viewers enjoy.

Quite different from Reddy's sexually intimidating sculptures is Sudipta Das's migratory juggernaut. Fashioned with paper that renders them both vulnerable and fragile, a teeming mass of figures crushed against each other, carrying everything from babies to bundles of household goods, the hopelessness is a scathing commentary on nation states and the fear of those rendered homeless (and paperless?). To Das's credit, each tiny face is mobile with expressions, each ragged, wretched piece of clothing is detailed, each limb of the body contoured. This is one exhibition that beggars larger viewing than will be possible at its venue at Gallery Latitude, and should find a place in some public concourse. Are airport authorities listening?

'The Exodus of Eternal Wanderers' by Sudipta Das. Courtesy: Gallery Latitude 28

At Bikaner House, Jitish Kalat is showing his Terranum Nuncius following its Mumbai viewing, while in the newer galleries at the same venue a group exhibition features artists Atul Dodiya, Bharti Kher, Rashid Rana and L N Tallur, among others — a wide swathe of significant contemporaries. I would also recommend a hike to Talwar Gallery for a viewing of artist N N Rimzon's recent works. The voices of contemporary artists have too long been quiet and exhibitions such as these are a cause for celebration. Among the older generation, a retrospective of sorts of J Swaminathan at Saffronart's gallery at The Oberoi is recommended.

Also at The Oberoi is an exhibition of handpicked works belonging to London-based collectors Jane and Kito de Boer whose recent book based on their collection celebrates Indian modern art. That the works have been specially flown in for the short duration of the fair makes this a voyeuristic peek into art in their private domain. While the preview, courtesy Christie's, is by invitation only, art lovers are urged to make the most of this treat.

Every gallery worth its name has a show on, making the off-fair as lively — almost — as the art fair, and since gallery exhibitions will continue for a while, here's a treat for Dilliwallahs who can enjoy it at their leisure. For outstation visitors, a little more selectivity is advised, including for invitation-only parties. But whatever you manage — or don't — here is something you oughtn't miss: the artisanal Sunday markets at both Bikaner House and Sunder Nursery are a perfect antidote to eyes and minds jaded by too much art.
 

Kishore Singh is a Delhi-based writer and art critic. These views are personal and do not reflect those of the organisation with which he is associated