Seventy-seven Minutes of Comedy: Curtain Falls on Desipina

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Raj recaps Desipina & Company's Seven.11 Convenience Theatre

The curtain falls on fusion arts company, Desipina & Company's Seven.11 Convenience Theatre after seven fun-filled years. Ably run by sisters Rehana Mirza, Artistic Director and Rohi Mirza Pandya, Producing Director, Desipina's mini-productions were a labor of love that cast seven talented actors and seven playwrights this year and ensured an audience that celebrated South Asian and Asian Pacific genres. Says, Rohi, "It's been an incredible journey but we are ready to close up shop for good since we're shifting priorities."

Adds Rohi, "In part, our artistic aspirations have moved beyond what can be done in 11 minutes, with all of our artists, including ourselves, running the store with little to no funding. We want to be able to end on a high note with Seven.11, while also turning an eye towards a future where South Asian and Asian American theater is valued to the point where it has as many donors as other mainstream non-profit theaters."

Last week's inaugural show of seven sketches (each lasting 11 minutes) set in the American 7-11 convenience store at Centerstage in Manhattan were hilarious, and excelling were Kavi Ladnier (versatile bundle of fun, the woman cannot stand still -- Color Me Desi), Andrew Guilarte (his professionalism and experience showed), Cindy Cheung (wild and restrained in turns in What's in Store, written by Rehana), Tim Cain (the big-made clerk, who appeared dangerous, yet sensitive, when provoked in One Dollar Box), Jay J. Lee (as Old Su in Closing Up Shop), Sam Ghosh (who continued to surprise in Soonderella), and Christopher Larkin (as convincing nerd in Closing Up Shop).

Admirable writing was the hallmark of the skits and scribes have used positive and unusual stereotypes that New York city offers, to maximum advantage. While occasionally the rhymes and music didn't resonate perhaps because of inadequate acoustics controls the ultimate effect didn't suffer too much.

Character names such as Chandrakant Scroogewala, Soonderella (desi "Cinderella"), Foffatlal were obvious giveaways and it is creditable that Desipina executed these witty plays with professional aplomb. Kavi was a riot in Soonderella with Cindy (Helen Anti), an able foil and Foffatlal (Sam Ghosh). Addressing Prince Charming Singh (Andrew Guilarte) as "You are my Taj Mahal" Cindy's spoof line had a charming touch. It was obvious, most of the actors loved the challenge of playing outside of their own skins.

To a question by the writer about how difficult or easy it was for her to manage a diverse group of actors with multi-racial identities and fusion lifestyles in the plays, Rohi said, "Everyone brings to the table drastically different perspectives, which only helps to create a livelier discussion, which shows on the stage. One of the main reasons why we created Seven.11 was to show the broad spectrum of the Asian American experience, and to show that there is not just one story that encompasses it all. The fact that everyone is so unique and has such different backgrounds precisely proves our point. We love to mix the pot up and show that there's no need to be afraid to stick everyone on one stage together." The diversity of the ensemble, and of the playwrights actually helped. Samrat Chakrabarti and Sanjiv Jhaveri had their writing and music cut out for them in A Very Desi Christmas with Andrew, the ideal scrooge. Sanjiv served as dialect coach, Rishi Chowdhary phonetically wrote out some of his Guyanese dialogue for Kavi in Color Me Desi.

The seven actors of the multi-cultural chorus that belted out the final "Om jagadeesha harey" would have brought tears of joy to the NOA (Network of Anti-gees), a clever take on well-meaning real life "aunties" from back home and from Edison, New Jersey. Only the obligatory flame and incense stick were missing.

About future plans for Seven.11, Rohi confided, "We would love to share a theater space with other innovative Off-off Broadway companies such as Youngblood or Vampire Cowboys, so that we can focus more on the art that we want to create rather than the woes of producing on a shoestring budget in somebody else's space."

Raj S. Rangarajan is a New York-based trend writer, reports on the art market and has contributed to publications in the U.S., Canada, Republic of Korea and India. Email: raj.rangarajan@gmail.com.

Last Supper & Bollywood Depiction in London

The art scene shifted to London where South Asian modern and contemporary art works of Indian and Pakistani artists were auctioned. Apart from known names such as Husain, Tyeb Mehta, Ram Kumar, Raza and Souza, creations by younger artists such as Rashid Rana, Atul Bhalla, Vivek Vilasini and Navin Rawnchaikul sought art collectors and buyers.

With art buying in a holding pattern these days, this writer asked Yamini Mehta, Director, Modern and Contemporary Indian Art at Christie's, London, whether collectors, galleries and dealers were hesitating to purchase major art items. Assured Mehta, "works of significance, quality and rarity find their way to collectors with little hesitation. As we are in a buyer's market there are many more opportunities to acquire - which has actually brought back many long-standing collectors into the market." While Indian artists have crossed the US$1.5 million-dollar sale threshold a few times Mehta sounded optimistic in "regard to marquee works entering the market and the day is not far away from a US$5 or 10 million milestone for a work of Indian art."

Navin Rawanchaikul (born, 1971) of Thai origin has ancestral roots in Hindu-Punjabi communities of what is now Pakistan. Navin's Lost Kingdom of Navin, (2008) is a tribute to his interest in Bollywood and to fellow artists such as Ravinder Reddy, Nataraj Sharma, Subodh Gupta, Chintan Upadhyay seen as a frivolous take in a constellation of film stars and look-a-likes. Navin's work is site-specific and his innovative style integrates his individual experiences into eccentric fictional tales. His works include installations, films, comic books, games, mobile galleries and painted cars.

Many households have on display the well-known "Last Supper" painting in their family rooms or meditation area. But, artistically speaking, here is a twist. Kerala artist, Vivek Vilasini's archival canvas Last Supper - Gaza, (2008) is an unusual reenactment of 15th century artist, Leonardo da Vinci's composition of the apostles in threes (surrounding the central figure of Christ). Vivek's figures have young women clothed in chadors or burqas revealing only their sensitive eyes filled with suspense and anxiety. A multimedia artist and photographer, Vivek (born, 1964) trained as a Marine Radio Officer in Kochi before turning to art and sculpture.

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)

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RAJ S RANGARAJAN

 

Void - Anish Kapoor's Installations

Maverick. Unorthodox. Nonconformist. Artistic genius.

Call him what you wish, but Anish Kapoor stands alone in the art world. Identified variously as an artist, sculptor, space thinker, Anish has evolved as a master of three-dimensional space. His imagination boggles one's notional milieu in that his conceptual sense of scale and colour gives new meaning to the phrase: thinking outside the box.

Sandhini Poddar, art historian and the first Assistant Curator of Asian Art at the Solomon R. Guggenheim Museum in New York describes Kapoor as a post minimalist, known for his seminal contributions that are contemporary and site-specific. Till recently on display in Berlin, Kapoor's Memory will be re-created in New York for the Fall season to commemorate Guggenheim's 50th anniversary. The minimalist era was when art and music were stripped down to their fundamental premise between 50's and 70'with post minimalist starting around the 80's.

Imagine 24 tons of Cor-Ten steel sculpted into154 seamless tiles with 10 bolts resembling a percussion instrument such as a mridangam or a tabla. Part of his signature Void series, Kapoor's Memory makes one wonder how the monumental installation was conceived and created. Clarifies Poddar, "A giant jigsaw that compels the viewer to physically move from one section of the museum wall to another in order to comprehend the art," this masterpiece makes one think. One is not a mere spectator -- one becomes a participant -- in an interesting and even intriguing search for where uncertainty begins and where the curvaceous seduction ends.

On permanent display at Millennium Park in Chicago since July 2004, Kapoor's stainless steel Cloud Gate that weighs over 110 tons, consists of 168 stainless steel plates (66 ft. long; 33 ft. high) is another example of the artist's visual prowess.

Mumbai-born, Kapoor, 55 attended Doon School in Dehradun, later moved to Britain to study art at Hornsey College of Art and Chelsea School of Art Design. In 1991 he won the Turner Prize for contemporary art and in 2003, the British government awarded him a CBE (Commander) for his giant Marsyas (satyr in Greek mythology) that was displayed at Tate Modern Gallery in 2002. This huge 3-steel ring structure held by a PVC membrane made one think about space in a different light.

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)
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RAJ S. RANGARAJAN

Younger Indian artists come into their own

While art writers tend to concentrate on the Husains, Gaitondes and Souzas of the contemporary art world, known for their originality and longevity, it’s time perhaps that we also talk of the younger breed of artist such as a Shaw or a Harsha…

These are Indian artists knocking on the doors of high value, and from an investing standpoint, these are “sure bets” for art galleries and collectors. Kolkata-born Raqib Shaw, 35, who grew up in Kashmir from the time he was six months old, but now settled in London, set the art world aglow in 2007 with his The Garden of Earthly Delights III painting that sold for US$5.49 million. This Raqib montage was a risque tapestry of splendid colour with humans, animals, birds and other creatures in plainly suggestive racy activity.

Raqib is outrageous in his underwater creatures as well that is seen in The Garden of Earthly Delights, X, with nipples and genetalia, and the artist makes no apologies for his art. Heir to a carpet fortune that also deals in jewellery and shawls, Raqib, who studied art at Central Saint Martins at University of Arts, London, gave up his shares in his family’s company and preferred to become an artist – a vocation he clearly revels in and loves.

Artist N.S. Harsha, 40, lives in Mysore and is involved in large scale installations and community projects. His Cosmic Orphans, completed in December 2005 for the Singapore Biennale was a painting-cum-installation at the Sri Krishnan Temple in Singapore dedicated to the ninth incarnation of Vishnu. Here. the artist created sleeping figures in the inner sanctum, on the terrace, and on the temple tower (gopuram). For the terrace exposed to the elements he used flat colours.

Harsha won the £40,000 Artes Mundi Prize in April 2008, UK’s highest award at the National Museum in Cardiff, Wales. Artes Mundi, an international contemporary arts initiative, encourages artists to participate on the world’s art stage. Known for his storytelling abilities, Harsha’s keen sense of detail on everyday Indian life, juxtaposed with contemporary world events and images has been a major plus. His winning painting Mass Marriage was a subtle, amusing narrative on Indian marriages, but also reflected in a realistic manner the complex nature of human relationships all over the world.

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)

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RAJ S. RANGARAJAN

Spring Sales Lukewarm at New York Auctioneers

Raj S. Rangarajan

The temperature in New York was cool, it was not yet spring, and the uncertain economy did nothing to lift the mood of collectors and art lovers. Gallery owners and aficionados with a feel for the art market were

enthusiastic about this year’s Asia Week auctions held by Christie’s and Sotheby’s between March 17 and 20.

Kitagawa Utamaro, Ehon Komachi-biki (Picture book: Pulling Komachi), New Year 1802.

Compared to last year’s total of US$126.4 million and US$129.3 million in 2007 for Asia-centric art-oriented lots, this year’s total of merely US$43.62 million was a sign of the times. On the bidding floors, while some items with impeccable provenances sold well investors and collectors were biding their time, perhaps waiting for the fall sale in September. (All figures indicated are with Buyer’s premiums.)

At Christie’s, An Important and Very Rare Blue and White Basin from the Yongle Period (1403-1425) that sold for US$2.32 million was among the highlights at the Fine Chinese Ceramics and Works of Art category that included Jades from the Fine Arts Museums of San Francisco. The 10-1/8 in. (25.6 cm.) diameter cloth box sold at three times the high estimate of US$600,000. It is well potted with deep, rounded sides, fluidly painted in the center with interior showing leafy scrolling stems bearing three lingzhi heads. Ninety-one percent of the lot that fetched US$18.32 million was sold by value. Also, A Very Rare and Important Doucai Petal-Lobed Vase, Zun, Yongzheng Period (1723-1735) sold at 12 times the high estimate of US$150,000. An Asian trade buyer picked it up for US$1.81 million. The globular body, trumpet-form neck and spreading pedestal foot which is raised on a circular foot ring molded with thirty-two lobes divided into eight vertical sections by narrow ribs (10-1/8 in. or 25.9 cm. high).

Tina Zonars, International Director of Chinese Works of Art and Joe-Hynn Yang, Head of Department, Chinese Works of Art said, “international participation was a testament to the prestige of the private collections offered including those from the Estate of Walter Hochstadter, a North American Chinese Family Collection and Harvard Art Museum.”

At Sotheby’s sale of Fine Chinese Ceramics and Works of Art, Specialist and Head of Sotheby’s Chinese Ceramics and Works of Art Sales, North America, Dr. Caroline Schulten, was “thrilled to see such strong competition for 18th century Imperial mark and period porcelain” as evidenced with the sale of “The Conquests of the Emperor Qianlong,” a set of sixteen engravings after Castiglione et al. and eighteen panels of Calligraphy, 1769-74 – that sold at $164,500 at four times the high estimate. Each engraving is approximately 20-3/4 x 35-1/2 in. (52.7 x 90.2 cm.). A Fine and Rare Pair of ‘Famille-Rose’ ‘Eight Daoist Immortal’ Jars and Covers, Qianlong Iron-red Seal Marks and Period (height 10-1/4 in., or 26 cm.) was sold at $632,500 at 1.5 times the high estimate.

The catalogue explains that the jars depict the Eight Daoist Immortals as they cross the rough sea after attending the Peach Festival of the Queen Mother of the West. Rather than traveling by their clouds, they combined their powers to sail pass the tempest. The proverb is a lesson on how individual strengths and gifts can be used to tackle a common obstacle.

With provenances always a key factor it was not surprising that at Christie’s sale of Fine Chinese Art from the Arthur M. Sackler Collections totaled US$10.87 million. Dr. Sackler, who died in 1987 was a psychiatrist and philanthropist. A Very Rare and Important Painted White Marble Buddhist Votive Stele, Northern Qi Dynasty (550-577) which is 66-7/8 in. (169.8 cm.) high sold at US$1.73 million, thrice the high estimate. A set of four hanging scrolls (ink on satin) of Birds and Ducks by artist Bada Shanren (Zhu Da: 1626-1705) was bought at $1.20 million. Each scroll is 81-7/8 x 21-5/8 in. (208 x 55 cm.) However, a Rare Yellow and Pale Russet Jade Archaistic Hinged Twin, Bi (Qing Dynasty: 1644-1911), 9½ in. (24.2 cm.) long sold for $422,500, a phenomenal 28 times the high estimate of US$15,000.

Theow H. Tow, Deputy Chairman, Christie’s Americas and Asia said: “The results have proved that rare and exceptional works with excellent provenance continue to generate huge interest and demand from collectors throughout the world. Clients responded confidently to the museum-quality pieces of rare bronzes, jades, and paintings with 99 percent sold by lot and value.” Occasionally, abstract art seems to sell better than figurative art though it is not fair to compare.

Rise of Indian Painting

At Christie’s sale on March 19, an Untitled, ’65 piece by Indian artist Vasudeo Gaitonde (1924-2001) sold for US$482,500. Abstractions always succeed in making one think. Gaitonde has always motivated one to stretch one’s imagination: is it a boat or the moon? Is it intrigue or uncertainty? Or is it plain confusion? Commenting on the “strong results,” Hugo Weihe, International Director and Head of Indian and Southeast Asian Art, said, “buyers continue to be selective and to focus on quality for mid-level price ranges.”

Considering that he is in his 90’s, artist M.F. Husain continues to be the endurance runner in contemporary Indian paintings with many of his oils yet selling at loftier prices than high estimates. This was noticed at Sotheby’s in the Indian & Southeast Asian Art category with Husain’s Untitled (Two Women) (painted in mid-70s) that was acquired for US$374,500. Also performing well was F.N. Souza’s oil-on-board, Untitled, 1954 selling for $302,500 and Akbar Padamsee’s Untitled (Nude), 1960 which was sold at $242,500.

Sales on the Indian and Southeast Asian Art series at Christie’s totaled $2.16 million and the top lot was A Gray Schist figure of a Bodhisattva, Gandhara, 2nd/3rd century that sold at $US122,500. This elegant figure is deeply carved, is wearing necklaces, his armlet concealed beneath the folds on his upper arm, his face with crisply outlined features and a benign expression (39 in. or 100.2 cm high). The sale of the Star Collection from India to Indonesia totaled US$883,250, and the top lot was a Gilt Copper Figure of Padmapani, Nepal, 14th century (10-1/2 in. or 26.5 cm high) that sold at US$182,500. It is a bronze from the Malla period (late 13th/early 14th century).

In the Japanese art category that totaled US$1.74 million, top lot was an album of twelve erotic illustrations by Japanese artist Kitagawa Utamaro (1754-1806) that was bought by an anonymous buyer for US$242,500. Title was Picture Book: Pulling Komachi (each sheet, 25.2 x 37.6 cm.), New Year 1802 that Christie’s catalogue explains as Komachi-biki – that derives from Komatsu-biki – a New Year ritual at the Heian court of Komachi’s time that involved “pulling up” (hiki) of young pines (komatsu). “Pulling Komachi” means to grab hold of a beauty, embrace her and make love to her.

Kanagawa oki nami ura (In the well of the great wave off Kanagawa) by artist Katsushika Hokusai (1760-1849) sold at US$68,500 at more than three times the high estimate of US$20,000. This was part of a series Fugaku sanjurokkei (The thirty-six views of Mount Fuji). The only Korean piece in the top ten was A White Porcelain Brush Rest from the Joseon Dynasty (19th century), which was purchased for US$88,900. It is modeled on the Diamond Mountains known in Korea as the Geumgang mountains that has a lustrous clear glaze with blue flecks.

Zara Porter Hill, Director, Head of Sotheby’s Indian & Southeast Asian department in New York said, “it was encouraging that 100 percent of the top ten lots were bought by, or for, established collectors, highlighting the strength at the top end of the market.” Case in point: at this Indian & Southeast Asian Art sale, Scenes from the life of Buddha Shakyamuni Stone, Eastern India, Pala Period, 12th century (height 7-1/2 in or 19 cm.) was bought by an American buyer for $98,500 at five times the high estimate of US$18,000.






(A New York based writer, Raj S. Rangarajan covers trend stories on art and reviews films, books for media based in New York, Toronto, Seoul and India.)

Former Maharaja's Carpet Fetches $5.45 million

India has been in the news in the international art arena. One of the items that made a mark was a former Maharaja's pearl-and-diamond-studded carpet.

India is much in the news these days on the international art front. A month ago, auction of Mahatma Gandhi's personal belongings by New York auctioneer, Antiquorum created a buzz in certain circles. Few weeks ago, a former Maharaja's pearl-and-diamond-studded carpet was bought in Doha for a record US$5.45 million (19,873,662 QAR - Qatari riyals) at auctioneer, Sotheby's first-ever foray into the kingdom of Qatar. For reasons of privacy buyer's name is never released but bidding started at around US$5 million.

According to Sotheby's this masterpiece that measures 173 x 264cm. (5ft. 8in. x 8ft. 8in.) was once commissioned (1865 circa) by the former Maharaja of Baroda, Gaekwar Kande Rao. Imagine your normal knotted carpet at home from Kashmir or Jaipur or Persia. This regal one is perhaps of the same size as mentioned but with a silk and fine deer hide foundation that is densely embroidered in strings of natural 'Basra' pearls, measuring approximately 1-3mm, with coloured glass beads. For the curious: total estimated weight of the pearls is 30,000 carats and diamonds are estimated to be 350-400 carats in total - all set in silver topped gold or possibly blackened gold. Over 2.2 million pearls and beads have been used to decorate the small area. Sotheby estimates, the number of pearls employed in the design is perhaps 1.2-1.5 million.

From a provenance standpoint, this pricey rug descended to The Maharani of Baroda, Seethadevi Holding until 1988, and was displayed at Indian Art Exhibition, Delhi (1902-1903) and at The Metropolitan Museum of Art, New York (1985-1986). Several writers and admirers have covered in detail the magnificence of this unique carpet. Embellished by seed pearls known as "Basra" pearls originally collected from the waters of the Persian Gulf, this symbol of hedonism defined wealth, sophistication, opulence and grandeur of the days of yore.

Susan P. Mattern in her book, Rome and the Enemy: Imperial Strategy in the Principate, says, "Besides being a magnificent manifestation of the taste and power of the maharajas, the Pearl Carpet of Baroda is also a reminder of the flourishing pearl-trade that existed between the Indian subcontinent and the Arabian Gulf."

Another scholar and collector, and Curator emeritus of Islamic and Indian art at the Harvard Art Museum, late Stuart Cary Welch said, "The Pearl Carpet of Baroda reflects the confluence of many Indian decorative traditions in addition to being one of the most luxuriant works of art ever created."

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)

RAJ S. RANGARAJAN