Asian Art Sales Open Fall Season On A Strong Note

by Eileen Kinsella and Raj. S. Rangarajan

NEW YORK—Fall auctions of Asian art got off to a solid start on Sept. 13 with Christie’s sale of South Asian modern and contemporary art, one of the fastest growing sections of these biannual art auctions in recent years. Sotheby’s also did well with an opening sale of classical Chinese paintings that more than doubled presale estimates.

While Chinese ceramics and works of art continue to contribute a major portion of the overall series total—Sotheby’s had a $22.7 million sale while Christie’s two-day series was expected to bring between $19 million and $28 million—Indian and southeast Asian art and Korean and Japanese art sales were considerably weaker. Excluding its ceramics and works of art sale results, Christie’s had realized $37 million for five sales, as ARTnewsletter was published, while Sotheby’s achieved a total of $31.4 million in three sales.

The top lot at Christie’s modern and contemporary South Asian art sale on Sept. 13 was a painting by Indian artist Maqbool Fida Husain. His large oil painting, Sprinkling Horses, sold for $1.1 million compared with an unpublished estimate “in the region of $1 million,” according to a Christie’s spokesperson. It was bought by a U.S. collector. Works by Husain dominated the sale, accounting for eight of the auction’s top-ten lots. In all, the sale featured 13 works by the artist, all of which sold, and accounted for $4.2 million, or more than half of the $7.4 million total.

The overall presale estimate was $6 million/8 million. Of 111 lots offered, 77, or 69 percent, were sold. By value the sale realized 82 percent.

Other artists in the top-selling lots were Tyeb Mehta, whose oil painting, Untitled (Man vs. Horse), 1957, sold for $602,500, compared with an estimate of $300,000/500,000, and Ram Kumar, whose Untitled (Boy and Goat) oil painting, 1956, sold for $350,500 to an Indian collector, compared with an estimate of $200,000/300,000.

Other top lots by Husain included: the painting Yatra, 1955, which sold for $932,500, nearly double the $300,000/500,000 estimate; Untitled (The Three Graces), 1990, an acrylic on canvas that sold for $482,500, within the estimate of $400,000/750,000, to a dealer; and the oil, Village Women, 1954, which sold for $338,500, compared with an estimate of $100,000/150,000.

The Christie’s Indian and Southeast Asian art sale realized $4.1 million for 203 lots offered, missing the presale estimate of $5 million/7 million. Of the lots offered, just 137, or 67 percent were sold. By value, the sale realized 59 percent.

The highest price was $482,500 for a bronze figure of Chandeshvara, South India, Chola period, 12th century (estimate: $ 400,000/600,000), and was bought by an unidentified institution. A U.S. collector paid $422,500 for a large Imperial gilt and polychromed wood figure of Garuda, Tibeto-Chinese, 18th century. The price was well above the $120,000/180,000 estimate.

A sale of Japanese and Korean art at Christie’s on Sept. 14 took in $3.8 million, with 172, or 59 percent of the 291 lots on offer finding buyers. By value the sale realized 41 percent, or less than half of the presale estimates. However, some prices at the top end of the sale were much better than expected.

These included an oil and mixed-media on board by Park Sookeun, Returning from the Market, 1965, which was estimated at $400,000/500,000 and fetched $722,500, and a Meiji Period lacquer cabinet, ca. 1900, that sold to a U.S. buyer for $458,500, compared with an estimate of $300,000/350,000.

Sotheby’s sale of classical Chinese paintings on Sept. 13—the house’s first such specialized sale in over a decade—realized $6.5 million, compared with a presale estimate of $2.6 million/3.7 million. Of 81 lots offered, 71, or 88 percent, were sold. By value, the auction was 95 percent sold. The sale was led by Running Script Transcription of an Epitaph, a painting by Dong Qichang (1555-1636), that sold for $782,500, several times the estimate of $200,000/300,000. Also bringing a better-than-expected price was Thatched Hut in Autumnal Mountains, 1743, by Dong Bangda, an artist who was admired and praised by Emperor Qianlong. The work sold for $386,500 compared with an estimate of $180,000/250,000.

Sotheby’s vice chairman of Asian Art, Henry Howard-Sneyd, said the sale results “testify to the international nature of this market,” and said the house plans to continue them. “With this success, we look forward to classical Chinese paintings sales becoming a regular fixture of our New York Asia week sales,” said Howard-Sneyd.

The Chinese works of art sales at Sotheby’s on Sept. 14, were led by a gilt-bronze votive stele of Buddha, Northern Wei Dynasty, A.D. 471 that was bought by London specialist gallery Eskenazi Ltd. for $1.02 million—higher than the estimated $600,000/800,000.

At the modern and contemporary South Asian Art sale on Sept. 15, M.F. Husain figured in five of the top-ten lots with most of them selling at higher-than-estimated prices. Priyanka Mathew, head of modern and contemporary South Asian Art, Sotheby’s said, “of the M.F. Husain works that found buyers, many exceeded the high estimate, particularly works that have not appeared on the market recently.”

The total for the category was $2.3 million, with 59 percent of 87 lots sold, and 67 percent sold by value. The top lot, Eglise, 1962, an oil on canvas by Syed Haider Raza, sold for $362,500 to a private Asian bidder.

An oil on canvas by Raja Ravi Varma, Untitled (Himalayan Beauty), sold for $266,500 (estimate: $100,000/150,000).

In the Indian Miniatures category, the top lot, Krishna and the Cow, India, Punjam Hills, Sirmur, an opaque watercolor heightened with gold on paper, ca. 1820, by an anonymous artist, sold for $56,250, compared with an estimate of $30,000/50,000.

Singham: Another Action Film About Cops and Bad Guys

Ultimate Bollywood » Bollywood Features » 2011

Raj reviews Singham, Ajay "Where are the muscles?" Devgn's latest release.
by Raj S. Rangarajan





Yet another story about good versus evil emerges in this latest film entitled Singham. The movie tells the story of a straightforward, diligent police inspector from Shivgad, a small village on the border of Maharashtra and Goa, confronting a villain from the city of Colva in Goa. The cop this time is Bajirao Singham (Ajay Devgn), a man with a conscience who aspires to end corruption and blackmail. He vows to bring back the honor of his predecessor, Rakesh Kadam who had killed himself with a bullet to his own head after being framed.

In his village, Singham likes to settle disputes with his unique, patient style and words of wisdom, resorting to force only when it becomes absolutely necessary. More often than not, goons in the neighborhood are his problem. Extortionist, Jaykant Shikre (Prakash Raj, Mozhi in Tamil and several other hits) virtually rules Goa with his scheming ways and terrorizes rich families, which somehow seems woefully normal these days in India. The antagonist becomes a successful politician.

Fight scenes, while predictable, are original; for the first time, I saw the do-gooder (read: Ajay, the hero) slam-dunk the bad guys on their foreheads with his bare flat hand -– almost like Michael Jordan punching into the hoop and adding an exclamation point to the proceedings. The only thing missing was a chest thumping like the NBA player. Singham's move seems to be the signature shot.

The original Singham in Tamil was released in May 2010 and actor Suriya, who was promoted then as the "dude with 6-pack abs" had played the Ajay role. Reportedly, Ajay pumped a lot of iron and added extra upper body strength to play the role with greater conviction. "Singham", in Tamil, means lion.

The female leads in both Tamil and Hindi versions are tall and fetching, but lanky Anushka Shetty, known for her roles in Tamil and Telugu films, did a better job as the Singham boyfriend than Kavya Bhosle (Kajal Aggarwal) in Hindi. In one revealing moment, Kavya pleads with Bajirao, her Prince Charming, to go get the goons and vindicate his honor for his own sake and for the sake of the cop who died at his post. In amorous scenes with Kavya, Ajay had problems expressing himself. His fiery Mars character didn't send the right signals to Kavya, the Venus identity.

Prakash Raj has matured into a crafty villain, and there's little wonder that he is invariably busy in many languages these days. His Marathi needs polishing but when the villain can communicate better in the vernacular with the aid of guns, one needs no tonal affectations. As expected, the hero uses a white SUV while the bad guy "challenges the lion" with his black SUV. As Jaykant Shikre's sidekick, Ashok Samarth (Krantiveer) gets a lot of play and longish lines in a cell.

Ashok Saraf, the comedy element, as Prabhu Bhawalkar is spot-on with his "angry young man" spiel. His humorous delivery relieves the tension for Singham (Ajay), especially when the 3-striped cop, due to retire in six months, philosophizes about the nexus between cops, crooked politicians, and corruption. Apart from Familywala (Hindi) released last year and Pandu Havaldar (1974), Ashok has starred in television serials Yeh Choti Badi Baatein and Hum Paanch.

Sonali Kulkarni (Megha Kadam) as the wronged wife of the cop who kills himself on his office chair has a cameo appearance. She could have been asked to do more, especially since she is talented.

"Action romance" is the genre for the film but it had virtually no romance while, admittedly, maintaining loads of action. Director Rohit Shetty has taken care of the fights admirably but could have let us more into the picturesque scenery that Goa offers--an ideal getaway from reality if you can spare two hours or more. Gripping action scenes matched by snappy dialogue keep one wanting more.

Desiclub.com Exclusive: Hrithik Roshan and Barbara Mori Interviews, May 14, 2010

Ultimate Bollywood » Bollywood Features » 2010

Kites, a Tribute to Honesty and Love: “Feel the Breeze on Your Face” says Hrithik. Throughout (shooting of) Kites, my dad has never been on the sets - Hrithik Roshan

Desiclub.com spoke with lead actors of Kites. For a 36-year-old, Hrithik Roshan, had a lot of "philosophical takes" on being an actor. Articulate, candid and serious-minded he reiterated his conviction that one should be honest to oneself in one's craft.

Barbara Mori worked as a model before studying acting at El Centro de Estudios de Formación Actoral, Mexico. Her acting debut was in the telenovela, "Al Norte del Corazón".? While there was initial speculation in the press and on blogs that Barbara didn't speak English, she turned out to be quite fluent.

Here is what they said:

Desiclub.com: Kites, being a different kind of film, how did you approach the script?
Hrithik: I had some unlearning to do. Training my mind to switch off - to let go; in my past films, I have done a lot of work where I knew was right - the right chord to hit and the reaction that it would evoke. There was this whole circle of this craft that was going off, but, sporadically in the middle, somewhere in Koi Mil Gaya and in Laksh I touched upon another area to this art.
I truly ventured out and enjoyed the flight of an actor, where there was no mind and I was creating something for the moment. I came out and didn't know what I had done because I had not planned that. It was something that came out of my mind spontaneously. And, I loved that. I said (to myself), what is that? There is something more to this art than earlier. All the work that I did, I kept being attracted to that, tried to relive that. Over time, I think, I was preparing myself to finally being ready for a film like Kites, where I had to completely just let go. Perform from the heart.
(Director of Kites), Anurag Basu's vision was demanding that. He wanted it to be a completely honest film, he did not want to see a star in it. He didn't want to see dialogues said perfectly. I just knew then that there was a destiny to this film.
Referring to his female lead, Barbara Mori, Hrithik added, "Then we had someone like her who entered our team, who provided the right kind of push and impetus toward the right direction, because she comes from the same school of thought. She's a very honest person. Whatever you create is only a reflection of the person you are inside. Her films have all been honest and convincing, the person she truly is.

Desiclub.com: How difficult was it for you to work with your dad?
Hrithik: Difficult? It wasn't difficult at all. In fact, I have been quite comfortable. My dad and I have a system in place, where we work without any egos. I can tell him anything that comes to my mind, about camera placement, about my lines and we connect as professionals. Either he convinces me or I convince him. We are both tied into equal loads of passion.
When we asked his dad, Rakesh Roshan the same question, Rakesh responded, "Not difficult at all. He's one person who just listens to the director. We call him at 6 a.m. and he'll show up on time. Also, he does one film at a time so his inputs are very valuable. He is constantly thinking of the film, and while we are thinking of other aspects he is focused on his job, getting prepared for his "character." He gives us a chance to improvise with the director.

Desiclub.com: You work very closely with your father. Coming from our Indian way of life, how did you manage the love scene with your dad watching?
Hrithik: As easy or as difficult as jumping off a 50-storey building. Barbara intercepted: he wasn't watching, he was not on the set. Throughout (shooting of) Kites, my dad has never been on the sets. He did not want to influence Anurag's vision. The only scenes he was present for were the action sequences, and even there he was like an assistant director running around to make sure that Anurag had whatever he needs. If Anurag wants a chopper, he had to make an urgent call to make a chopper happen. Because Anurag is so forgetful. He'll come to the set, and then he'll say, "wait a minute, I need a helicopter." My dad is like, "How the hell am I going to get a helicopter, we have this location for one day?" He was a father to all of us. He just made the children make the film, and he was supervising, he was there for all of us.

Desiclub.com: When playing a developmentally-disabled young man in Koi Mil Gaya weren't you taking a risk with your career since you are perceived as a dynamic action hero?
Hrithik: There's a lot of mental conditioning that my industry succumbs to - here its all about trying to fit into the mould, as to who eventually becomes a hero. Its all evolving; slowly we have transcended this and we are becoming more real. Films are about a slice of life, its something you need to identify with and live a journey that will inspire you and help you vent your emotions in your own life. I have been a movie star but it's a consequence of being an honest actor. What came first, the chicken or the egg? You'll never know.
I have been taking risks, which appear as risks from somebody else's perspective, but its not a risk for me because I have my passion there. For Koi Mil Kaya I was passionate about it, and I knew that. How can this be a risk? It's a risk if I am afraid but I was completely convinced about Koi Mil Haya.

Desiclub.com: How do you manage to stay so honest to yourself, so grounded?
Hrithik: I think I have become aware of my journey. We have to come to terms with one's perspective of the world, and finally realize that we are all basically the same, you and I are the same - all of us here are the same - basically at the core of things, we just have these little walls built around us that we need to build so that we feel protected. We are in our little boxes trying to connect with the walls afraid to show each other what we are truly about.
So, from God's point of view, we look pretty stupid. We are in boxes, all the time, still trying to show our good side, and hide the other aspects, which are part of all of us. I think that's a thought that grounds me. I am not a star - I am me - and you are you - and we are the same, there's no reason to feel fear. I have lost the need to rely on my own judgment of other people, everyone has their own point of view, and that is the truth, so all's well.

Desiclub.com: What do you expect out of Kites?
Hrithik: My 2-1/2 years of effort and my heart, it's a different kind of film, its something I am very proud of. I can promise you that it's a good picture and I hope you'll come to watch.

Desiclub.com: After all that you have done, do you feel you have finally reached your goals in Kites?
Hrithik: Yes, that's what life is about. In my earlier years, I was looking at a Finish Line. It was a race for me and there is a dog behind me, coming at me, and I am running and he is gonna get me - and I have to reach that Finish Line or he's going to bite, and I have to reach my goal; that's how I was working before. I had to get there, there was fear, there was anxiety, and all that. Now when I work, I realize, there is no Finish Line, there is no dog and I am running because I like the breeze on my face.
We are always trying to get somewhere, and if we feel fear that if we don't, somebody will pull us down and life will attack you and you'll fail and you'll lose. Life is not about that. There are no bad experiences. Everything is good if you can just enjoy the breeze on your face, no matter what.

Desiclub.com: Would you say Kites is a Bollywood movie?
Hrithik: No, it's not fair to put labels on any kind of creative work. I don't think Kites is a Bollywood love story, it's a human love story. A film about human beings, that's supposed to touch your heart - a film that is honest and made from the heart. Whether from China or Hollywood or Bollywood, it will find its audience. It could be identifiable on an international platform. The Indian version is being distributed all over the globe. The U.S. release has Brett Ratner's interpretation that will cater to a select western audience.

Desiclub.com to Barbara Mori: How did you prepare for this role?
Barbara: I read the script, saw a bit of the movie shooting, took salsa classes in Mexico for the movie, went to New Mexico on rehearsals, discovering things about car chases.

Desiclub.com: How did you get to talk in English?
Hrithik answered for her. It was basically a translation of the English that Anurag had written, so Barbara gave it heart. She just interpreted it in the right way. She was basically the writer of all her lines.

Desiclub.com: Is acting in different languages different?
Hrithik answered again: It definitely changes things in that when I speak in Hindi and in English, there is a shift in stance. For her it must have been more than that, she was acting the entire film in English, which is not her first language.
Barbara added, Of course, its a bit different. Acting in your language and being directed in another language. For instance Anurag speaks English, but he sounded like he was speaking in Hindi, because he speaks so fast. Too many times I said, Anurag "I am not Indian, speak in English, and he would say, "I am speaking in English"." It was a bit difficult initially but once I applied myself it became easy. I went to New Mexico, and started shooting and was scared. But soon realized the fears are in my mind.

Desiclub.com: This was your first Hindi film. What made you decide to work in this film?
Barbara: Well the script, the story. I read the script and I was touched by the story, beautiful love story between two human beings who fall in love even if they don't speak the same language, and I found that beautiful. It touched my heart and I said, I want to be part of this. True love and honest.

Desiclub.com: How different is it from the kind of work you have been doing?
Barbara: Its completely different. Its my first English movie, my first action movie, my first Bollywood movie and big budget movie. So, there's a lot of difference between this movie and what I have done before. But, I think, they will love it, because, in Mexico, we love all this action also. Kites has this bit of everything, humor, we also love stories, drama and laughter and everyone will feel like they want to fall in love again. Because love is universal.

[Raj S. Rangarajan is a New York based independent writer. He covers trend stories on art, reviews books and films for media based in New York; Toronto, Canada; Seoul, Republic of Korea; and India. He can be reached at raj.rangarajan@gmail.com]

Desiclub.com Exclusive: The Director and the Father, Rakesh Roshan, May 14, 2010

Ultimate Bollywood » Bollywood Features » 2010
Music is an efficient part of our movies, and it brings lot of money to the producer - Anurag Basu

by Raj S. Rangarajan

Continuing our series on Kites (Hindi) and its just-released Hollywood version - Kites, The Remix - Producer of the movie, Rakesh Roshan, Director Anurag Basu and Rajesh Roshan, Music Director tell us why they made the film.

Desiclub.com: How come you didn't direct Kites?
Rakesh: So happened I saw Anurag's Gangster and loved his work. He is one youngster who knows what filmmaking is all about. I told him, "I would like Hrithik to work with you in your next project." His response, "I make only small films, so for Hrithik I'd need to make a large film with a large canvas." Once I narrated the storyline Anurag was hooked and agreed to direct. I don't have to achieve anything; we have to make a good film, whoever directs is not important. I liked the way he worked.
In India, mostly, we give breaks to new actors or actresses, but we never think of giving a break to a new talented director. In those days movies were 5 crores of rupees, nowadays movies are more than 20 crores to make. We have to suppress our ego and give the project to somebody else, its not an easy thing. Once the script and vision were embedded in his mind he (Anurag) went along. I know what a filmmaker requires. I gave them the best location, best shooting facility, I should not deprive him of anything. I said, I am behind you like a rock. Don't worry about time and money, just spend money as need at the right place.

Desiclub.com: Your father was also in films and so is your son. All fathers have faith in their children, but at what stage did you decide that Hrithik, the actor is ready to become Hrithik, the star?
Rakesh: Well, when we are at home, we are having breakfast and lunch, together at the same table, we are father and son, we discuss so many things, but the moment we are at the set, he is an actor for me. There I don't see him as a son.
I have worked with Shahrukh (Khan), Salman (Khan), Anil (Kapoor), they are very good, we understand each other very well. Right from the word "Script", he (Hrithik) is there - he is in the place of the character.

Desiclub.com: Why an International version?
Rakesh: Because we wanted to be the first to go global. China and Korea have made International versions, India is lagging behind. After Kaho Naa.. Pyaar Hai, (where Hrithik debuted in 2000) and Koi Mil Gaya and 15 films (as director), its time specially since we have an Indian diaspora. I had to keep the Indian audience, cannot make a movie just for the foreign audience. Once we are successful, a time will come when we have to make just one version.

Desiclub.com: How difficult was it to shoot in Nevada? Are permissions easy to obtain?
Rakesh: I went and saw the location, and it took 2 months to obtain permissions. To a question on whether it was a meaningful experience to shoot in Mexico, Rakesh said, "it all depends on the script since the scripts demands what kind of location to choose. For instance I went to New Zealand for the first time to shoot for Kaho Naa.. Pyaar Hai and, for Koyi Mil Gaya, to Singapore. Some scenes were shot in English for Kites and some for the Hindi version. I felt only a love story would appeal to a global market and I wouldn't mind if one day my grandchildren entered the film industry."

Desiclub.com: Do you think music and melody has changed?
Rajesh Roshan, music director for the film, who was present, defended the concept that "we have all grown with the times, and have become more westernised, but that doesn't mean we have lost our tradition and soul. For instance, Rahman's music has scored very high marks for Slumdog; melody in Indian films and music has surpassed its limit, and will continue to survive. On the music aspect, Rajesh Roshan, Rakesh's brother explained how the sound track was original in that the beat had to be individually synchronized."
Expanding on their family unit, Rakesh added, "In our family as brothers we are very cohesive." In an interesting take on how film makers nowadays come to Rajesh Roshan with a pre-recorded tape of a western tune, and ask him to work on a similar melody for their film, Rajesh said, it was degrading for a music director. Rakesh calls his brother, the king of melody.

Rajesh ads, "It is not like a Bollywood film in that we had to add some extra scenes for the Hindi filmgoer to understand. We just went with our instincts since the songs are mostly in the background. Background scores in both versions are different. The mixing was done in Los Angeles and the background score for the English version was done by New Zealander, Graeme Revell, a film music composer.

Anurag declares: A film becomes big or small with ideas not with a large budget.

Desiclub.com: It was a huge budget film, what was the challenge?
Anurag: Making smaller films are more difficult because of shoestring budgets. Here, it was easy, had a free hand, and all I had to do was write. When asked about the budget, Rakeshji just said, "don't think of the film, you just write the script."

Desiclub.com: How you feel about the International cut? Do you have any inputs at all?
Anurag: All the songs in Kites are taking the story ahead, they are background songs, and it wasn't difficult to replace the score and have a fresh background score for the English version. When we write screenplay for Indian movies, we structure it differently. We plan for pre-interval, then for 15 minutes you are disconnected with the movie and then you start again. So, it has to be edited differently for the English version - something with Hollywood sensibilities.
For the International version, its the same film, but some sequences have been cut differently, and we have about 4 or 5 songs in the Hindi version, but all in the background. The international version has no songs and no dancing, but is expected be "racier, edgier and spunkier" than the Hindi edit. The English version was edited by Brett Ratner (using a remix formula originated by the international Kung Faux television series).

Desiclub.com: Brett Ratner is responsible for the International version. Now, looking at the International version, do you feel its like your film?
Anurag: Yes, its my film, most of the edits are mine, but, yes, in some places the background music could have been different?its very subjective?in some places I didn't like the background in the English version.

Desiclub.com: Was it a love story with action or an action story with love?
Anurag: I will not use action at all in the genre description, it's a love story all over. Who's betraying whom is the interesting aspect? Kites is written as a metaphor of the film. It took 30 days to write the script and it was easier in this case since the flow was fast. While writing I thought, kites fly high against and not with the wind - higher the wind, higher the flight - I normally use a metaphor when writing, and its interesting -- the more the obstacles the couple faced, their love became stronger. They fly all over, they come together, and they separate again like kites normally do but somehow their destiny is not in their hands. The title also starts with a 'K', sort of played conveniently into Rakesh Roshan's practice that all his films start with the letter 'K'.

Desiclub.com: Working with Hrithik what did he bring as an actor and how did you direct him?
Anurag: In fact, now with any story, any character I can see Hrithik in it. He is such a versatile actor. Initially I was apprehensive working with a big star, I used to avoid it - as an independent film maker, but Hrithik is a complete team-man, he knows his medium very well, he has a bit of director, a bit of a cameraman, editor, everything in him, he has a film-brain, all of which helps. All of this helped me as a filmmaker.
Hrithik was honest and organic. Barbara complained that I was messy. Our Bollywood acting comes over the top and loud sometimes, but this movie was real and unorganic. So, when you are working with a superstar, normally you see only the superstar, not the character. In Hrithik's case, all you see is the character, not the superstar.

Desiclub.com: Should Indian cinema go global?
Anurag: Why not, everything in India is becoming global, why not Indian cinema as well? Take China and Korea, we make ten times more movies than them but they make ten times more money since their audiences are global. I feel we are concentrating too much on the domestic market. Its an exciting time for Indian cinema?all of us young directors think that we have become global, but we are far from being global. Our audiences are just NRIs now who live here.

Desiclub.com: Is there a reluctance on the part of the global audience to look down on Bollywood for instance, Luck By Chance and Rock On? Do you think Kites will help that perception?
Anurag: They were good movies and we have to continuously churn out such movies to help our image. When they talk of Bollywood directors, they only think of Mira Nair, Shekhar Kapur, they have only two names; they don't know me, Karan Johar, Sanjay Leela Bhansali. We are too busy making movies for our own market in India, and we all want to cater to larger audiences. But, a different kind of marketing is needed to reach the large audience that would enjoy a Luck by Chance or a Rock On.

Desiclub.com: What next for Anurag Basu?
Anurag: Working on one, no title yet but with Ranbir and a new girl. It's a love story and a mixed genre, interesting character and story, have a metaphor too, you are up there as a film maker, but everyone is waiting and watching to see how Kites will perform at the Box office. A film becomes big or small with ideas not with a large budget.
Music is an efficient part of our movies. And, it brings lot of money to the producer, and also it has to be used differently every time. I love watching the dances and all the sequences including MTV but when I go on the floor to shoot I find it difficult to shoot the dance sequence. Its perhaps my drawback.
In Bollywood, you record the song, and then go for shooting. But for two sequences I didn't want to do that. I shot the sequences, and edited it but I had had a rough tempo in my mind. Rajesh Roshan suggested tempos too but it was tougher for him to compose, and we didn't have to edit or tweak too much. You can't make out that the song was done later.

Desiclub.com: Did you have to do lot of research since Barbara speaks only Spanish?
Anurag: Barbara herself did not speak much of English, now she's speaking good English, now she's real. My job in the film is a little overrated because I just captured her onscreen chemistry in the best possible way. They were amazing on the screen, I just had to shoot it because it was all real, and happening. They were trying to communicate in spite of the difficulties. I didn't want to make it appear staged. So, I briefed them and they understood, and I shot the scene.

Desiclub.com: So, is the headline, Kites helps Barbara speak English?
Anurag said, Yes.

[Raj S. Rangarajan is a New York based independent writer. He covers trend stories on art, reviews books and films for media based in New York; Toronto, Canada; Seoul, Republic of Korea; and India. He can be reached at raj.rangarajan@gmail.com]

XXXV No. 16 - April 6, 2010

Sharp Rebound in Volume at Asian-Art Auctions
by Eileen Kinsella and Raj S. Rangarajan

NEW YORK—The results of auctions held at Sotheby’s and Christie’s during the semiannual Asia Week series March 23–26 indicated a recovery from the tepid sales of last year (ANL, 3/31/09). The houses reported total sales of $82.5million, roughly double the $43.6million total achieved last March.

Christie’s posted a total of $60million for six sales, up considerably from the $36.4 million achieved last year for five sales. This year the house offered sales of modern and contemporary South Asian art, Indian and Southeast Asian art, Japanese and Korean art, and Chinese ceramics and works of art, as well as two single-owner sales of art from the collections of Robert Blumenfield and Arthur M. Sackler.

Sotheby’s experienced an even larger spike in sales volume, posting a total of $22.6million for two sales—of Chinese ceramics and Indian and Southeast Asian art—well over the estimate of $10.6million/15million and triple the $7.2million achieved last year for two sales in the same categories.

Although the traditional collecting category of Chinese ceramics and works of art continues to account for the bulk of Asia Week sales—this season contributing $22.6million at Christie’s and $14.4million at Sotheby’s—modern and contemporary South Asian art continues to be a bright spot. Meanwhile Chinese contemporary art, whether in larger sales or in dedicated auctions, was notable for its absence in New York salerooms after its considerable appreciation in price in recent years. In 2008, Sotheby’s announced it was moving its Chinese-contemporary sales to Hong Kong, where specialists believe the highest prices can be attained. Christie’s specialists also say most of their Chinese-contemporary sales are now handled through their Hong Kong branch.

Henry Howard-Sneyd, Sotheby’s vice chairman of Asian art, said that from time to time “a few of the more international and iconic pieces” are included in sales in London and New York, but “Hong Kong has become the focal point.” Sneyd noted that one pronounced effect of the recent financial crisis on this market is collectors’ decision to “hold onto their pieces and not sell. This has meant there is a shortage of high-quality material on the market.” However, he added, “Prices for the top end, often sold privately, actually remain very strong and above 2008 levels.”

Modern Indian Paintings Lead Sotheby’s Sale

Modern works dominated Sotheby’s $8.2million sale of Indian and Southeast Asian art on March 24. Of 180 lots on offer, 131, or 73 percent, found buyers. By value the auction was 84 percent sold.

The house set a new record for a work by Manjit Bawa (1941–2008) when an untitled oil depicting a woman standing atop two white horses against a dark red background doubled the $200,000/300,000 estimate to sell for $602,500. Specialist Zara Porter-Hill called it “by far the most important work by Bawa to have appeared at auction in the past ten years and it attracted interest from all around the world.”

The top lot of the sale was an untitled 1955 oil by Maqbool Fida Husain (b. 1915), which soared past its $150,000/200,000 estimate to sell for $1.06million. Works by Tyeb Mehta (1925–2009) and Syed Haider Raza (b. 1922) also figured among the top lots, at prices that exceeded estimates. An untitled 1959 painting by Mehta depicting a reclining woman sold for $566,500 against a $100,000/120,000 estimate, and Raza’s acrylic on canvas L’inconnu, 1971, sold for $458,500 against an estimate of $120,000/180,000.

Raza was also the top-selling artist at Christie’s sale of South Asian modern and contemporary art on March 23, which took in $8.9million for 91 lots. Of these, 75, or 82 percent, found buyers; the auction was 95 percent sold by value. Raza’s later abstract painting Gestation, 1989, sold for $1.2million on an estimate of $600,000/800,000. That was followed by Husain’s painting Sita Hanuman, 1979, which sold for $842,500 on an estimate of $600,000/800,000.

Projjal Dutta, a partner in Aicon Gallery, New York, which specializes in Asian contemporary art, told ARTnewsletter, “the moderns—artists such as Husain, Raza and [Vasudeo S.] Gaitonde, who worked in the decades immediately preceding Indian independence in August 1947, have had the greatest successes recently.” Gaitonde’s Blue Abstract, 1965, was also among the top selling lots at Christie’s, bringing $554,500 against a $250,000/350,000 estimate. Another untitled painting by Bawa, from 1999, sold for $434,500, also far surpassing its estimate of $120,000/180,000. Christie’s specialist Hugo Weihe called the sale “well-edited,” and said it drew “immense and competitive bidding for some of the finest modern and contemporary works from India and South Asia.”

In the more traditional Asian art collecting categories, Sotheby’s sold a classical Chinese painting, Two Mynas on a Rock, 1692, by Bada Shanren (1626–1705), to a private Asian collector for $3million against a $400,000/600,000 estimate.

Christie’s sale of works from the Blumenfield collection totaled $13.86million for 157 lots offered. A new U.S. auction record for a classical Chinese painting was set by Yu Zhiding (1647-1716), Happiness through Chan Practice: Portrait of Wang Shizhen. The hand scroll in ink and pigment on silk sold for $3.44million, 20 times its estimate of $120,000/150,000.

Christie’s sale of Chinese ceramics and works of art was led by a large white jade figure of Buddha, 18th or 19th century, which sold to an Asian collector for $2.3million on a $150,000/200,000 estimate.

Seventy-seven Minutes of Comedy: Curtain Falls on Desipina

Community » Culture Features » 2009

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.