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.

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.

Think of home, and for many Indian immigrants it evokes memories of cool interiors, a whirring fan and the street sounds floating from the outside. Inside was a cool, domestic heaven, outside was the chaos, the traffic, the ugly realities of the work world, of political upheaval, of price cuts. It was always about inside and outside, two very different worlds. And now in our new global world it is about India interacting with a larger, more complex world at its doorstep.

They’ve come from different parts of America, each finding their way to India. With their cameras, eleven American photographers have captured the essence of the country, each drawn to the lush, visual kaleidoscope that is India.

Looking at those powerful images, I was reminded of an evening many years ago spent interviewing Francis Newton Souza in his rundown Manhattan apartment. Art was everywhere and not a spot to sit on, until he pointed to a big bundle of magazine covers with his bold pen-work on it. Quite irreverently he commanded ‘Just sit on it!’ – and I did.

Riveting.

That’s probably the word one is searching for when asked about the new face of Pakistani art which is now being shown in art centers internationally. For a country in so much pain politically and socially – not to mention economically – Pakistan is surprisingly on top of things where art is concerned.

“The steel structure of Spine is transformed through the stitching of red suede, and was inspired by the two-piece choli that is worn at weddings in the Subcontinent. Spine led me to rethink the function of the choli and the inherent contradictions it carries; it is, at the same time, flirtatious and oppressive.”

- Naiza Khan

Krishna the Blue God and the Beautiful Names of Allah are both the work of the same artist, and each painting is suffused with a spirituality which cannot fail to move viewers. For Salma Arastu there is but one god and one humanity and she reiterates this belief in painting after painting.

In recent years, Kashmir has been a flawed paradise, a killing field where families have been torn asunder and homes lost forever. The timeless, idyllic place that visitors in happier times remember may well be lost, never to be experienced again. Yet there is a strength and beauty that lives on in the arts of diehard, resilient Kashmiris who, in spite of all the difficulties, continue to create crafts that blossom like the flowers of their native land. (This antique shawl above shows the map of Kashmir)