Imagine a room full of women, prostitutes, lowest of the low. They are faceless – without an identity, without a future. They are created out of found objects, the flotsam and jetsam of society.
Their heads are fashioned out of jars, their breasts are jars shaped like voluptuous melons– after all, aren’t women objects? They lack hands, and some even their lower limbs, they have no standing in society. Clad in flashy underwear and gold heels, they are what they wear, sexual objects in an uncaring society.
And yet to stand in that small room with these life-sized, lifeless women was to feel their presence and their pain. It seemed almost a community. Iranian artist Shirin Fakim’s women were just one vignette of the recent Asian Contemporary Art Week (ACAW)

A precursor to Asian Contemporary Art Week in NY, a recent group show: India and Pakistan may have been geographically birthed on the same subcontinent but they are relentlessly apart as nations. It is a question of so near – and yet so far. Once one people, they are now so far apart that can one understand the mindset of The Other?

Yet, art by Indian and Pakistani artists hung side by side in the Aicon Gallery in Manhattan – perhaps there were not even six degrees of separation between these canvases.

Looking at these powerful works of art one would be hard-pressed to say which artist was from India, and which from Pakistan. This only goes to prove that at heart, the dreams, the hopes and the fears are the same…

Mount Kailash, Tibet’s holiest summit, gives lessons in life – and death. It can even inspire people who have never seen it. Mexican artist Ricardo Mazal was mesmerized by the images and took a trip, one of the most difficult he’s ever attempted, to do the ‘Kora’ or pilgrimage which is a 33 mile trek around the peak, and is undertaken by Buddhists, Hindus, Jains and Bonpos alike.

It is believed that 108 rounds of Mount Kailash can lead to nirvana. The Kora became a pilgrimage for Ricardo Mazal to unearth larger truths about life and death.

Sometimes you buy a piece of contemporary Indian art and get a love story too in the bargain! Cinq Sens (Five Senses) by M. F. Husain is a powerful work originally gifted by the artist many, many years ago to film director Roberto Rossellini and his Bengali wife, Sonali Dasgupta.
It was a love match he helped bring about, for at that time Rossellini was married to the noted actress Ingrid Bergman and Sonali was the wife of a documentary film-maker in Calcutta. The painting is estimated at $500,-700,000 and is being auctioned by Sotheby’s, and here’s the story behind it.UPDATE – IT SOLD FOR $782,500

We are a simmering bundle of the past, the present and our hopes and anxieties about the future – what we remember and what we choose to forget becomes the world around us. Memories often trespass from locked rooms and forbidden places in the mind into the present. Some of them become the scaffolding for art, for the truths artists want to share through their work. Yet seen through the distancing telescope of memory, how true is truth?

Contemporary Indian art is certainly the comeback kid if the March auction results at Christies, Sotheby’s and the online auction house Saffronart are any indication. The sales revealed a healthy appetite amongst collectors for buying the best of Indian modern and contemporary art after the slowdown experienced immediately after the economic downturn.

“Women have this idea of Prince Charming sweeping them off their feet and saving them from all evil and then living happily ever after,” says artist Ayesha Durrani. ” I object to this idea of women being helpless and needing to be saved. We grow up dreaming of that prince saving us from all evil and we develop into helpless needy people. We never allow the woman to grow up as a strong, intelligent person who can take care of herself and make her own decisions. Especially in the Subcontinent, women are completely dependent on their Prince Charming – who might not be that charming after all!”

Recession? What recession?

An untitled painting by M.F. Husain just sold in auction in New York for over a cool million dollars – $1,058,500 to be exact, over five times the estimated price. ‘Gestation’ by H.S. Raza, which was estimated at $600,000 – 800,000, fetched $ 1,202,500. An untitled Manjit Bawa sold for $602,500, double the pre-sale estimate.

Contemporary Indian art is certainly the comeback kid if the auction results at Christies, Sotheby’s and the online auction house Saffronart are any indication.

“I am convinced that if more of us could spend a few minutes every day trying to develop a sense of inner peace, eventually it would become part of our lives; then everything we do will contribute to peace in the world.”

These were the words of the Dalai Lama about The Missing Peace project which took place in 2007 at the Rubin Museum, sponsored by the Committee of 100 for Tibet and the Dalai Lama Foundation. The exhibit may be long over but here as we browse some of the images and the text, re-walk the galleries in memory, the exercise becomes both a meditation and a benediction.

The tragedy of Partition is almost Shakespearean in its fallout. It’s been over sixty-three years since this catastrophic event occurred yet its effects continue to unfold, like seismic aftershocks. No one on the Indian sub-continent has really escaped its scathing wounds as the two countries carved out of undivided India in 1947 – independent India and Pakistan – reel even today from the legacy of hatred and suspicion unleashed by the Partition. In reality, one people, one culture, today stand on opposite shores – We and They – talking in tongues which neither understands.
One would think that everything that had to be said about the Partition has been said but along comes Sarah Singh, an intrepid film-maker who has boldly gone into this troubled, calloused territory.