NYIFF 2011 - Exciting Film Weekend of Fun Indian Movies

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Raj gives us the dish on the 2011 New York Indian Film Festival, the leading film festival for Indian films in the U.S.

by Raj S. Rangarajan

NEW YORK: It was all there: the trappings, the red carpet, the paparazzi, the fawning crowds, the actors and the wannabees. Its desis in New York, after all.

The event: The Eleventh Annual New York Indian Film Festival presented by the Indo-American Arts Council (IACC) that concluded Sunday. As usual, the festival featured a slew of movies but this time the banner headlines were reserved for films from Bengal ranging from Aparna Sen's Iti Mrinalini to a documentary called The Bengali Detective to Metropolis@Kolkata, directed by Suman Mukhopadhyay to the closing event: Noukadubi directed by Rituparno Ghosh that was set in the 1920s, based on a novel by Rabindranath Tagore, whose 150th birthday was celebrated on May 9 in India.

In the mix was the film (read Bollywood comedy, produced by Walt Disney Pictures, India) Do Dooni Chaar starring the Kapoor couple - Rishi and wife, Neetu - that debuted last Wednesday. At the end of the screening of Do Dooni Chaar, what was billed as a Q&A by newly-minted Festival Director of NYIFF, Aseem Chhabra, of the director, Habib Faisal and the star cast, turned out to be hilarious with Rishi's humorous banter and Neetu's friendly ebullience carrying the evening.

Also seen at the festival were films highlighting drama, touching regional films in Marathi, Bengali and Malayalam with English subtitles, and, adding variety was a documentary titled Bhopali (on the Union Carbide fiasco of 1984), a gangster-light film, Yeh Saali Zindagi starring Irffan Khan and Semshook (in Hindi and Tibetan).

Other films with name-recognition status were Shabana Azmi in A Decent Arrangement (about a side of India not commonly seen by western audiences); Jaya Bahaduri and Victor Banerjee in Meherjaan, directed by Rubaiyat Hossain: a touching 1971 story when Bangladesh got its independence from Pakistan and where Meher falls in love with a soldier from the enemy's side.

Geeta in Paradise, directed by Benny Mathews, is a comic meditation about Bollywood and the effect Indian cinema has on one particularly lonely, bored housewife from Waxahachie, a suburb of Dallas, Texas.

For the first time, we had a 3-D computer-animated retelling of The Legend of Rama made by Ketan Mehta and directed by Chetan Desai. Aimed at children, the film that showcased a landmark in Indian animation had a dedicated team of over 400 artists and technicians busy for two years. Aseem Chhabra says, "we had to make some tough choices on selection for showings, we had to review about 150 narratives, documentaries and shorts."

At many of the events it was "standing-room only" crowds, another indication that Indian films - whatever the language, theme or length - are always a popular draw, the demographics of the audience notwithstanding.

Capping the 5-day event were Awards handed out for Indian cinematic excellence:
Best Director: Aparna Sen, Iti Mrinalini

Best Actress: Konkona Sen Sharma, Iti Mrinalini
Director Aparna Sen, known for several hit movies, excelled herself in this movie with her daughter, Konkona, playing the younger Mrinalini, proving that she is a better actress than her mom, which she readily concedes: "Konkona and I are never in the same frame. My god, imagine that. Straightaway she'll steal the scene! The story is about an aging actress who plans to end her life and the colorful characters that enter and exit her life during her ride.

Best Actor: Rishi Kapoor, Do Dooni Chaar
Breezy comedy set in Delhi that brings out the best elements in a family of four and how the sole breadwinner, an ambitious but lowly-paid Math teacher and scooter-owner faces up to the unforgiving city's challenges and never loses his spirit.

Best Screenplay: Mohan Raghavan, T.D. Dasan Std. VI B (Malayalam)
(How a young boy who misses his father, corresponds with a person whom he has never met and the interesting after-effects. Imaginative powerful story.)

Best Documentary: Bhopali (Director Max Carlson talks about the survivors and how they continue to fight for justice against an American corporation.)

Best Short Film: Just That Sort Of A Day (Abhay Kumar)

Best Feature Film: Sthaniya Sambaad (Spring in the Colony), directed by Arjun Gourisaria & Moinak Biswas (Story dealt with the goings-on in a settlement of refugees from Bangladesh)

Electrifying Performance by Violin duo Ganesh-Kumaresh

RAJ S. RANGARAJAN



It was a heart-warming experience: two well-known violinists -- Ganesh-Kumaresh and two percussionists in full flow at Flushing, New York recently. Their melodic performance was electrifying and even breathtaking. Thanjavur T. R. Govindarajan on the "thavil" was such a picture of professional concentration that one thought he was possessed in a kind of mesmerized trance. Patri Satish Kumar on the “mridangam” was exquisite.

The four energetic artistes reveled in each other's prowess and expertise on their chosen instruments that evoked gushes of sentiment and nostalgia from the expert and the novice. The violinists’ knowledge and mastery of the “gamakas” were unmistakable. Gamakas are embellishments to musical notes that make the overall listening effect a pleasurable lesson in noteworthy wholesomeness.

At one point, the duo called for audience participation which brought forth a flood of suggestions on the fusion between the classical and the contemporary that a purist such as a T.M. Krishna perhaps would not approve. But the Saturday evening crowd loved every moment with the brothers referring to their individual Mac laptops.

The foursome in unison brought new meaning to exalted words such as rhythm, resonance and melody. Govindarajan virtually made his “thavil” talk. Not to be outdone was the percussionist, Patri Satish Kumar who matched Govindarajan’s resonant forays with relaxed finesse.

Promoted by Saregama India of the Entertainment sector of RPG Enterprises, the evening lifted everyone’s spirits. This institution dedicated to music was established as the first overseas Indian branch of EMI, London. Earlier HMV (His Master’s Voice) or The Gramophone Company of India Ltd. was the sound of choice and record.

Brothers Ganesh and Kumaresh were hailed as child violin prodigies as early as 1972 when Ganesh was hardly seven and Kumaresh, five. Trained by their father, T.S. Rajagopalan, a veteran violinist himself, this performing duo has impressed doyens such as vocalist Dr. Balamurali Krishna, tabla wizard, Ustad Zakir Hussain, A. R. Raman and mridangam player Palghat Raghu -- to name a few.

They have introduced a new musical expression to Carnatic music called “Ragapravaham” which highlights musical creativity as pure melody and is not necessarily dependent on language or religious flavours. This new composition is based on typical ragas (melodic scales) and thalas (rhythmic cycles) without lyrics.

Team Ganesh- Kumaresh has created several such instrumental compositions that accentuates candidly the poetic elements of the violin. Among new ragas that are their forte are Hemantha Mohanasri, Amrutha Kalyan and Pamara Ranjani.

Their virtuosity and classicism with the stringed instrument was impeccable this day, and with percussion specialists rising to the occasion in no small measure, connoisseurs of the Carnatic form went home musically satiated for a splendid evening.
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[Raj S. Rangarajan is a New York based freelance 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]

Former Maharaja's canopy fetches crores

A Maharaja's pearl canopy is a recent treasure that went under the hammer at a New York auction house.

Raj S. Rangarajan

Yet another former treasure was sold recently at Sotheby's New York: a pearl canopy, originally from Baroda, Gujarat for a handsome 2.32 million USD. Measuring 3 feet 11 inches in diameter it was commissioned during the British Raj (circa 1865-70) by the then Maharaja of Baroda, Khande Rao Gaekwar (r. 1856-1870).

Embroidered with about 9.5 lakh 'Basra' pearls and beads, and embellished with diamonds, rubies, sapphires and emeralds, this opulent suite exemplified the grandeur, wealth and sophistication of the time. The rosettes are circled by small natural 'Basra' 3-4 mm pearls. The designs in the rosettes were set with over 200 table-cut and occasional rose-cut diamonds, all set in silver topped gold or possibly blackened gold; the motifs were further enhanced with approximately 700 foil backed rubies, emeralds and sapphires set in gold.

This exquisite bejeweled canopy and a Pearl Carpet of Baroda were two surviving pieces of an ensemble of five. For over 100 years, the Pearl Canopy of Baroda was hidden from public view. The 5' 8" x 8' 8" carpet was sold at Sotheby's Doha in March 2009 for 5.5 million USD. This too was artistically structured with a million tiny seed pearls, rubies, sapphires and diamonds on a silk/deer hide forming the base. The other three components that completed the ensemble were supposed to be rectangular carpets, which if placed vertically would have formed a regal enclosure.

Khande Rao Gaekwar who ascended to the throne in 1856 during the British Raj was known for his sophistication and love for the arts and architecture. Obviously he could command the services of skilled gem-cutters and craftsmen who created a canopy that blended Persian and indigenous Indian traditions. Among the magnificent jewels he acquired in 1867 was the 128-carat 'Star of the South' diamond.

From a provenance standpoint, the canopy passed by descent to Maharaja Sayaji Rao Gaekwar and on to Maharaja Pratapsingh Rao Gaekwar who was married to Sita Devi, daughter of the zamindar of Pithapuram, now in Andhra Pradesh. Sita Devi, who was born in Madras, was a high-flying socialite and lived out of Monaco. The story goes that Pratapsingh Rao and Sita Devi were smitten the moment they met at the Madras Race Course in 1943. When the former Maharani moved to Monaco the canopy went with her and it was in a private collection since 1985. Sita Devi died in Paris in February 1989.

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

Hong Kong Sales Point to Soaring Asian Art Market...Again

by Raj S. Rangarajan

NEW YORK—Sotheby’s Hong Kong Spring sale series totaled HK$3.49 billion ($447 million), up considerably from last year’s total of HK$2 billion ($256.2 million).

Amid skepticism from some observers, prices for contemporary Chinese artworks have once again soared past expectations, leaving some to wonder if this second boom, which has come so quickly on the heels of the market downturn, is sustainable.

The auction house’s headline offering, “The Ullens Collection–The Nascence of Avant-Garde China,” was assembled by Belgian collectors Baron Guy Ullens and his wife Myriam. It, included seminal works of Chinese contemporary art from the 1980s and 90s, several of which have rarely been seen since their creation and acquisition. The auction was 100 percent sold and contributed HK$427.2 billion ($54.8 million) to the total.

Forever Lasting Love (Triptych), a monumental oil on canvas, 1988 by Zhang Xiaogang (b. 1958), set an auction record of HK$79 million ($10.1 million), selling far above the high estimate of HK$30 million.

The rise in prices for Zhang Xiaogang has been one of the most dramatic in the contemporary art market in recent years. In 2005, New York dealer Max Protetch was selling works by the artist for under $100,000. By early 2006, when Sotheby’s held its first sale of contemporary Asian art in New York (ANL, 4/25/06), the record leapt to $979,200 for the 1998 painting, Bloodline Series: Comrade No. 120, a 74-by-59-inch oil on canvas that had been estimated at $250,000/350,000. The price stunned many collectors and dealers, including Protetch himself, who told ARTnewsletter at the time: “It took me by surprise. I thought we were getting good prices last year [2005]”.

In 2007 the artist joined the Pace Gallery, where he had his first solo show, in New York, in 2008. Since 2006, at least 50 paintings by Zhang Xiaogang have sold for over $1 million each at auction according to a database. The day following the Ullens sale, another piece from the artist’s “Bloodline Series” brought $7.3 million.

Apart from Zhang Xiaogang, additional records were set for artists including: Zhang Peili (b. 1957) for Series “X?” No. 3, 1986, which sold for HK$23 million ($2.97 million); Geng Jianyi (b. 1962) for Two People Under a Light, 1985, which realized HK$18.6 million ($2.38 million); Ding Yi (b. 1962) for Appearance of Crosses 90-6, 1990, an acrylic on canvas which sold for HK$17.46 million ($2.23 million); Yu Youhan (b. 1943) for 1985-4, acrylic on canvas, 1985, that sold for HK$14.1 million ($1.8 million); and Liu Wei (b. 1965) for No Smoking, 1998, which sold for HK$14.1 million ($1.8 million).

A work by Wang Guangyi (b. 1957), Mao Zedong: P2, 1988, sold for HK$19.1 million ($2.5 million), the third-highest auction price for the artist.

Fine art category totals included modern Chinese paintings which took HK$648 million ($83 million); 20th-century Chinese art, which realized HK$236 million ($30.2 million); contemporary Asian art, which took in HK$183 million ($23.5 million); modern and contemporary southeast Asian paintings, which took in HK$108 million ($13.8 million); as well as Chinese ceramics and works of art, which brought HK$583 million ($75 million).

In the contemporary Asian art sale, which was 88 percent sold by lot, and 93 percent sold by value, a record was set for Li Songsong (b. 1973). Li’s China Past [diptych], 2006, was sold for HK$4.2 million ($541,026). Untitled No. 11, 2001, an oil by Zeng Fanzhi (b. 1964), went for HK$10.8 million ($1.4 million).

The modern Chinese paintings auction was 99.7 percent sold by lot, and 99.2 percent sold by value. The top lot was Spring Mountains in Sichuan, 1953, ink and color on paper, hanging scroll, 1953, by Zhang Daqian (1899-1983), which sold for HK$64.5 million ($8.3 million) at three times the HK$18 million estimate. It was followed by The Lion Grove Garden, 1987, ink and color on paper, by Wu Guanzhong (1919-2010) sold for HK$28.7 million ($3.7 million).

C.K. Cheung, head of the fine Chinese paintings department said the sale “went from strength to strength with bidding pushing many prices past pre-sale estimates. While buying in today’s sale was overwhelmingly Asian, the ultimate prices were due to active participation of under-bidders from around the world.”

In the 20th-century Chinese art sale, which was 89 percent sold by lot and 94 percent sold by value, most works surpassed estimates. Appearing in the market for the first time in decades, the diptych, Inspiration Hivernale, oil on canvas, painted between 1987 and 1990 by Chu Teh-chun (b. 1920) and signed in pinyin and Chinese, was bought by a private Asian buyer for HK$28.7 million ($3.7 million). Pins Landais, 1955, oil on canvas by Zao Wou-ki (b. 1921) sold at five times the HK$4 million high estimate for HK$23 million ($3 million) and Amitie, oil on canvas, executed in 2003 by Chen Yifei (1946-2005) was bought for HK$17.5 million ($2.2 million).

The modern and contemporary southeast Asian sale posted two new artist records for Hendra Gunawan and Filipino artist Ronald Ventura. Penari Ular (Snake Dancer), oil on canvas, 1977, by Gunawan (1918-1983) sold for HK$16.3 million ($2 million) while Ventura’s Grayground, 2011, graphite, acrylic and oil on canvas, sold for HK$8.4 million ($1 million) at twenty-four times the high estimate of HK$350,000. Mok Kim Chuan, head of southeast Asian paintings said “Grayground was competed for by 15 bidders and our strong results both for established names and for younger artists making their first appearance at auction demonstrate a market in a healthy state of expansion.”

Uptick in Asian Art Auctions As Market Rebound Continues

by Raj S. Rangarajan

NEW YORK—The latest Asia Week art auctions (March 22–25) were upbeat, and overall sale volume continued to bounce back from levels seen during the market downturn. Christie’s posted a total of $117 million compared with $60 million last year, and Sotheby’s took in $84 million compared with $22.6 million a year ago (ANL, 4/6/10).

Christie’s held a total of seven sales: South Asian modern and contemporary art ($9.8 million); Japanese and Korean art ($14.8 million); Indian and Southeast Asian art ($11.2 million); Chinese ceramics and works of art ($53.7 million); and sales of works from three private collections ($28 million).

At Sotheby’s, a major portion of the sale volume was realized for auctions focused on Chinese ceramics, which totaled $71.4 million. Modern and contemporary South Asian art accounted for $4 million, while Indian and Southeast Asian works of art realized $9.4 million.

At Christie’s Japanese and Korean art sale, the top lot was a pair of six-panel screens (ink, color, gold and gold leaf on paper) attributed to Kano Naizen (1570–1616) and entitled Southern Barbarians Come to Trade, which realized $4.8 million compared with the unpublished estimate “in the region of $4 million,” according to a Christie’s spokesman, and setting a record for Japanese painting.

Katsura Yamaguchi, international director of Japanese and Korean art, said the consignor of the screens will donate part of the proceeds to the ongoing tsunami and earthquake relief efforts in Japan. Yamaguchi noted that the total was Christie’s second highest in this sale category.

Among Korean works, the top lot was a rare blue-and-white porcelain dragon jar, 18th century, which sold for $3.9 million, against an unpublished estimate of $3 million. Korean art specialist Heakyum Kim, said bidding was “very active and buyers came from all over the globe.”

Among modern works that were well received was an oil by Kim Whanki, 2-V-73 #313, 1973, which sold for $1.4 million (estimate: $800,000/1 million).

The top-selling work of the Indian and Southeast Asian art auction was a gray schist figure of the Emaciated Siddhartha, or “Fasting Buddha,” third/fourth century, standing 31½ inches high, which sold for $4.5 million, compared with an estimate of $4 million.

The South Asian modern and contemporary art sale was led by a diptych by Tyeb Mehta (1925–2009), Bulls, 2005–7, bought for a record $2.8 million, compared with an unpublished estimate of $2 million.

An untitled oil on canvas, 1987, by abstract painter Vasudeo S. Gaitonde (1924-2001) sold for $722,500 (estimate: $300,000/500,000), and an oil on canvas Untitled (Gaja Lakshmi), 2004, by Manjit Bawa (1941–2008) sold for $476,500 compared with an estimate of $270,000/350,000.

All of the top ten works sold at prices that exceeded high estimate. Deepanjana Klein, head of the sale and a specialist in the South Asian modern and contemporary art department said the auction “reflected the continued strength and breadth of this collecting field and witnessed lively bidding by international buyers on the telephone.”

At the modern and contemporary South Asian art sale at Sotheby’s, Untitled (Reclining Nude), 1960, oil on canvas by Akbar Padamsee (b. 1928), sold for $1.4 million (estimate: $500,000/700,000).

Also among the top lots was an untitled oil by Maqbool Fida Husain (b. 1915) that sold for $602,500 (estimate: $500,000/700,000) and Death Scene, by Rabindranath Tagore (1891–1941) that sold for $338,500, compared with an estimate of $300,000/500,000.

Black and white are equally pretty in art

In a world dominated by colour, can you think in black and white?




As you cruise south on the IT corridor in Chennai you would have perhaps noticed a mural titled 'Mother and Child'. It was created by contemporary artist Asma Menon for Tamil Nadu Road Development Company Limited (TNRDC) few years ago. Apart from murals and installation, Asma is known for her vibrant colours and intriguing canvases.

Featured as Artist of the Month by Cholamandal Artists Village for this month, on February 26th and 27th, Asma dwells on printmaking and the influence and impact of this medium with the aid of a slideshow. In her exhibition titled 'Absence and presence of colour' Asma presents her etchings and black-and-white works.

The works take the viewer into the vortex of the "reading of the cards". The journey is of clairvoyance. Stark black-and-white line drawing against vivid borders is akin to a stage set for the unveiling of the answers to one's queries. Or is it! How often is one motivated to think in black-and-white in a world dominated by colour? But this exhibition does.

The art village, established in 1966, gives art aficionados a chance to understand the artist firsthand and her expression and the whys governing it. Located in Injambakkam, nine kms from Chennai proper, the art village's creations have been shown in Europe, the U.S. and South America. Several skilled craftsmen and artists live in a commune-type arrangement and create art as a matter of fun and pride.

Asma's creations reflect her bubbly personality and most of her oeuvre is brimming with a busy feel that needs to constantly communicate. Her strength seems to lie in packing a lot of elements on a crowded canvas much like a busy Chennai street during rush hour. Her symbolic streaks inform while yelling for attention.

A B.Sc. graduate in Visual Communications and M.A. in Fine Art from Chennai's Government Arts College, Asma has had her share of solo shows in several cities of Europe ranging from France to Spain to Italy and to the Middle East and Far East, Egypt, Malaysia, Japan and the Republic of Macedonia.

Some of Asma's composites occasionally mimic caricatures as an inevitable compliment to her sense of humour. Or is it all planned like an exit line of a play? Her persona is represented in the blend of hues that she teases the onlooker with.

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RAJ S RANGARAJAN

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

Indians cannot buy Indian antiquities

Indian antiquities have a good market abroad but we ourselves cannot buy them... A look at why



There is continued interest among American buyers - private individuals and institutions - in bronzes and copper artifacts as evidenced by purchases of a Bronze Figure of 'Balakrishna' from South India, Tamil Nadu (Chola Period, 12th century) as also a Copper Figure of Indra (Nepal, 14th/15th century). Few months back, each of these sold for USD 122,500 (INR 5.6 million) at a price higher than auctioneer Christie's estimate.

Both these art pieces - the Chola bronze (16-1/2 in. or 42 cm high) and Indra (10-3/4 in. or 27.2 cm high) were bought by America-based bidders. Interestingly, even if they wished to, art lovers of Indian origin based in India could not have bought these rare pieces. Reason: embargos by the Indian government following the passing of the Archeological Survey of India's Antiquities Act of 1972.

This writer asked two gallery owners - one from New York and the other from Bangalore - the same question: How come bronzes tend to be purchased mostly by western art lovers or U.S. institutions, not say by investors of Asian origin?


Manhattan Gallery owner Deepak Talwar says, "Perhaps Western buyers and institutions tend to prefer antiquities in view of the provenance and restrictions by the Indian government in owning antiquities. It is also possible American institutions and collectors want to buy Asian antiquities as they have little of their own art and antiquities from 500 or say, 1,000 years ago."

M. Maher Dadha, Chairman & Managing Director of a Bangalore gallery, Bid & Hammer Auctioneers (P) Ltd., laid out additional reasons: "Firstly, Indians are skeptical of buying Bronzes, Copper or Mixed Alloy statues, especially of Hindu gods and goddesses, as they are considered sacred. Secondly, most of the ancient stone statues being offered are either partially damaged or broken while excavating. In such instances, owning a broken or damaged statue is considered very inauspicious by the owner. In other words strong religious and cultural beliefs are detrimental factors."

Indians are unable to buy items here. Since reportedly most of the statues or bronzes have been stolen from temples and illegally smuggled out of India before the 1972 Act became effective, art lovers here just cannot buy them even if they travel abroad to do so.

Dadha adds, "The Indian government could actually now afford to bring back priceless, historically significant items of Indian heritage like some other governments do but the political will is lacking."

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

talktoretailplus@yahoo.com

RAJ S. RANGARAJAN