Founded eight years ago, Kiran Nadar Museum of Art (KNMA) has acquired the reputation of being the first private museum of art exhibiting modern and contemporary works from India and the sub-continent. It’s core collection is made up of a generation of 20th century Indian artists from the post-Independence period, while engaging art practices of younger contemporaries as well.
The idea behind opening a private art museum, according to its founder and art collector Kiran Nadar, was to share her collection with the public and address the lack of institutional art-focused spaces in India—a domain either occupied by government-run museums, independent art festivals or galleries. Since their inception, Nadar’s Delhi-based museums have not only mounted some of the most significant multi-genre shows on modern and contemporary art in India, but they have also made a major contribution to creating more visibility for Indian art practices abroad.
Krishen Khanna (Pieta, 1988)
In its latest art exhibition at its Noida museum, KNMA is showcasing vignettes of modern and contemporary artworks from its permanent collection of recent years. Titled ‘New Configurations’, the enormous exhibition is being seen as an opportunity to introduce newer perspectives—multi-dimensional instead of linear readings—about the art that the museum has been collecting, while reflecting on the creative breadth and historical context of these diverse artworks.
‘New Configurations’ highlights several areas of interest and engagement – the aspect of the performative and the theatrical, mythologies reimagined, the dominant subject of violence, death and destruction, the contemporary use of indigenous forms of craft and rustic, sensuous materiality, language and form of abstraction.
Museum Curator Roobina Karode
Here’s a glimpse of selected works from the exhibition:
F N Souza, Laxman Pai
These striking family portraits (FN Souza’s is an oil #painting while Laxman Pai uses water colour, ink and brush on paper) depict lives of peasants living on frugal meals and working-class people at a construction site in India, respectively. The rural and tribal motifs attempt to create a “formal” modernist vocabulary, while taking artistic inspiration from India’s rich classical and folk traditions. The artists, having spent their early career in either London or Paris, were heavily inspired by European modernism, even though their explorations are quite distinct.
A Ramachandran, Krishen Khanna
These modernist paintings (the first three are oils and the last is an acrylic) explore themes of human violence, oppression and martyrdom across different registers of medicine, revolution, war and religion. While A Ramachandran recollects his impressions of the holocaust and a visit to Auschwitz in ‘Anatomy Lesson’, Krishen Khanna depicts the lifeless, persecuted body of Christ in the lap of Mother Mary. Khanna’s ‘The First Operation’ has been inspired by traditional Indian medical practices – an illustration the artist made for his father’s book project on the same subject. ‘Che Dead’ shows the eponymous revolutionary leader after his execution, being identified by a group of soldiers.
Mrinalini Mukherjee, K Laxma Goud
Mrinalini Mukherjee uses unconventional materials (such as jute rope and iron armature) to create a pagan God-like figure, fusing together human (probably male), animal and plant forms. The sculpture has a superhuman and mystical element to it, defying traditional representations of divinity that are more to do with glorified human forms. K Laxma Goud’s Torana, believed to be the largest wall sculpture of his career, redefines a traditional entrance archway by installing an ‘earth goddess’ in the centre, instead of the typical Ganesha figure. This vivid mural, with its myriad hues, tones and layers, re-creates the fertility of a countryside setting.
Indian painter and sculptor Meera Mukherjee, a graduate of the Indian School of Oriental Art in Calcutta, finds inspiration from ordinary people for her art. Themes based on humanism and personal freedom feature prominently in her work. Her subjects include women, weavers and fishermen. This untitled bronze sculpture shows a group of local people engaged in a group activity such as a communal dance. However, on closer look at the sculpture, it appears that Mukherjee’s subjects are bound to together in form of bondage or imprisonment.
New Delhi-born Arpana Caur is largely a self-taught artist, whose work is dominated by women from everyday life, homes and neighbourhoods. Being a Sikh and having witnessed the 1984 riots against her own religion, her paintings also explore themes of violence, devotion, spirituality and mysticism. In this figurative oil painting, a group of women–sturdy-looking and spirit-like–seem to be floating in some kind of incorporeal space. With its luminous female figures, painted over a dark background, the painting has a surrealistic and dream-like quality to it.
In this highly imaginative and surrealist painting, Kerala-born artist Surendran Nair explores the genre of performing arts – a metaphorical theme believed to be one of the defining features of his oeuvre. With dexterous use of dramatic imagery, vivid colours and flat brushstrokes, the artist has recreated a performance that appears to be inspired from a tableau or mobile theatre in a rural setting. The performers’ facial tattoo, the costume wrapped around the lower half of his body and the intricate visual relief on his canopy reflect an artistic vocabulary influenced by folk or tribal art. The scorpion tied to the male performer’s hands, through a long thread, creates an impression of a puppetry show, introducing an element of the macabre.
The exhibition is on view until July 31, 2018.