Namma Art Festival in Bangalore Showcases Diversity of Indian Creativity

The personal exhibition of the world-renowned artist and sculptor Zurab Tsereteli, titled 'More Than Life,' is currently being displayed at the Uzbekistan Art Gallery. The exposition includes over eighty significant works by the master, among which are paintings, sculptures, and unique enamel pieces, offering an opportunity to view the diversity of the author's creative heritage in one place.

At the opening of the exhibition, the President of the Russian Academy of Arts, Vasily Tsereteli, noted that Zurab Konstantinovich has always shown a special interest in the culture of Uzbekistan and considers the realization of his idea to hold a major exhibition in Tashkent symbolic, as it supports the open dialogue of cultures that the master highly valued.

Zurab Tsereteli is recognized as a monumental figure in world art; he is a People's Artist of the Russian Federation and a long-time head of the Russian Academy of Arts, becoming a symbol of bold vision and creativity. His large-scale monuments are located all over the world, including Moscow, Tbilisi, Seville, and New York.

Nevertheless, this exhibition in Tashkent allows visitors to see Tsereteli not only as a creator of giant forms but also as a subtle, very temperamental painter. Visitors note the strong emotional charge emanating from the exhibition. One of the vernissage guests shared the impression that the project fully corresponds to its title, as an excess of simple, life-loving emotions is felt here, which makes the art 'more than life.'

Zurab Tsereteli's exhibition 'More Than Life' at the Uzbekistan Art Gallery will be available to the public until December 1st, allowing residents and guests of the capital to familiarize themselves with the works of the recognized classic.

The art festival recently held in Chennai demonstrated that the creative economy is largely determined not only by creators but also by viewers. The 'Contemporary Now' festival held its third session in Chennai, gathering collaborations with art galleries from cities such as Calcutta, Ahmedabad, New Delhi, and Mumbai.

During the event, a diverse collection of artworks was presented in ten different locations across the city. Among the exhibition participants were artists such as Ashwini Bhat, Pradjakta Potnis, Hageshwar Raut, Amitesh Srivastava, Sandip Mukerji, Sadju Kunhan, Pratap Mori, and Benita Persial, as well as many others.

Mixed-media artist Benita Persial noted that now is a favorable time to immerse oneself in art, as social media has significantly strengthened the connection between both emerging artists and the audience.

Previously, access to art was limited to catalogs and visits to a few galleries, which required either waiting for access and exhibitions or expensive trips to other cities. However, according to Persial, online access is now instant and global. Nevertheless, she warns that excessive online presence can be confusing or exert pressure.

Digital platforms and artificial intelligence have simplified and accelerated the process in the art sector, but Persial believes this also reduces the satisfaction derived from the process of searching for or creating something after significant effort.

Festival directors Ashwin Rajagopalan and Priyanjoli Basu expressed satisfaction with the results of the event for the art community in Chennai and beyond. Rajagopalan reported that collectors who usually rarely leave home attended the festival, as well as many art enthusiasts and students who were able to see events happening in other parts of the country thanks to institutional partners in other cities.

There are intentions to hold more sessions of this festival. Rajagopalan added that they might organize two or three editions of 'Contemporary Now', which could take place in Ahmedabad, Baroda, or Santiniketan, in addition to Chennai.

Basu observed that the level of contemporary art presented at the festival may not have previously been showcased in Chennai. She noted that she received many reports about major art events taking place in Delhi and Mumbai, but fewer in Chennai.

The art community expressed the opinion that this event should happen more frequently in Chennai to sustain the discussion, and that the exhibited works should be shown in other places, not just once a year.

Basu pointed to current trends in the Indian art market, noting the growing value of art addressing themes of politics, gender, and climate change. She emphasized that people seek to engage with new narratives and trends, and there is a growing demand for works by young female artists.

Rajagopalan added that many contemporary artists respond to world events, and collectors also respond to such art because it evokes strong emotions in them. He noted that informed collectors are capable of finding more artists working in this direction.

Both directors see the increasing significance of art's role in the modern world, as well as the need to raise the level of art recognition in society. Rajagopalan stated that artists voice the uncertainties and conflicts of the world, and engaging with such art reflects a person's concern for these issues.

Basu urged the audience to discuss art with the people they meet, attend art events, and visit art galleries. She also advised visiting galleries in cities during vacations and viewing museums when traveling abroad, which will help improve understanding and appreciation of art right here in India.

The 'Contemporary Now' arts festival, recently held in Chennai, demonstrated the benefits of intercity collaboration. This third edition of the festival covered ten locations across the city and included exhibitions, panel discussions, and tours of several galleries.

The diversity of artworks presented was a testament to the joint efforts involving galleries from other Indian cities. Galleries from Mumbai, New Delhi, Ahmedabad, and Kolkata shared their works at the Chennai festival.

Participants included galleries such as Experimenter, Archer, Vadehra Art Gallery, Ojas Art, Art Alive, TARQ, Chatterjee & Lal, Chemould Prescott Road, and Project 88. These institutions represent various facets of India's artistic landscape, including the preservation of traditional practices, historically significant contemporary art programs, and experimental modern directions.

Experimenter, founded in 2009 by Prateek and Priyanka Raja, is a contemporary art gallery with branches in Kolkata and Mumbai. It is known for its intellectually ambitious and experimental approach, addressing themes of identity, politics, history, memory, and social change. In addition to exhibitions, Experimenter fosters critical dialogue through masterclasses, artist talks, and publications, and its annual Curators’ Hub supports the development of young curators.

Archer Art Gallery, established in Ahmedabad in 1978, originated from a studio founded by artist Anil Relie. This gallery is particularly valued for its work with limited edition prints, including screenprints by renowned Indian artists.

Vadehra Art Gallery, founded in New Delhi in 1987, is a leading center for contemporary and modern South Asian art. It has played a vital role in supporting recognized Indian modernists such as M.F. Husain, S.H. Raza, and Tyeb Mehta, as well as in art historical research through its publishing program.

Ojas Art was created in New Delhi in 2006 by Poonam and Rajiv Sethi and focuses on indigenous, folk, and tribal artistic practices of India. The gallery aims to connect traditional art forms with a contemporary audience.

Art Alive Gallery, founded in New Delhi in 2001 by Sunaina Anand, promotes contemporary and modern Indian art. It has also organized exhibitions of Indian art in foreign cities, helping to introduce Indian artists to an international audience.

TARQ was established in Mumbai in 2014 as a contemporary gallery focused on a research and experimental approach to art. Its name derives from the Urdu word 'tark,' meaning logic or reasoning, reflecting an interest in encouraging critical contemplation of art and ideas.

Chatterjee & Lal, founded in Mumbai in 2003 by Mortimer Chatterjee and Tara Lal, covers contemporary art and design. The gallery combines solo exhibitions with research-based group projects, placing artworks within a broader historical, cultural, and artistic context.

Chemould Prescott Road, established in 1963 by Keki and Khorshed Gandhi, is one of India's pioneering galleries for modern and contemporary art. It supports experimental and interdisciplinary artistic practices, showcasing works ranging from painting and sculpture to photography and new media.

Project 88, established in Mumbai in 2006 by Sri Goswami, showcases experimental and conceptually driven works by Indian and international artists. It often addresses complex themes such as globalization, political structures, social inequality, identity, and the relationship between art and public life.

The photo essay features works by artists from these galleries and other institutions in Chennai, including Gitisha Kallat, Atul Dodiya, Shakuntala Kulkarni, Mitu Sen, Mohita Shelare, Rina Saini Kallat, Desmond Lazaro, and N.S. Harsha.

Thus, a festival rooted in one city can become much more than just a local cultural event thanks to such collaboration. It transforms the festival into a convergence point for diverse artistic practices, regional identities, new perspectives, and creative communities.

Art does not exist in isolation, and the platforms that display it should not either. When galleries from different cities unite, they open up opportunities for artistic discovery and strengthen a more connected art ecosystem. Viewers gain access to works they might otherwise never encounter, making the festival richer and more engaging. For emerging artists, these connections, in particular, provide the possibility of wider exposure, which can be transformative.

When a city embraces artistic voices from elsewhere, it strengthens its status as an open, dynamic, and culturally significant hub. Gallery networks can continue to thrive even after the festival ends, creating ongoing opportunities for cultural exchange and professional growth.

When art travels, perspectives expand, and when galleries collaborate, possibilities multiply. Intercity interaction strengthens the entire nation's art ecosystem, beyond just supporting local artists.

One notable exhibition at 'Contemporary Now' was the show titled 'How Long Will We Live? Or When Will We Die?', which featured works by Benita Percial, offering a comprehensive view of her creative practice developed over three decades. She explained: 'I don't expect everyone to understand the work immediately. I just hope they spend time with it. If they slow down, observe carefully, and start asking their questions, then the work will begin its conversation.' She added: 'For me, this conversation is more important than providing fixed answers.' As an artist working with various media, she actively uses wood. She also advised emerging creators: 'Artists must listen to the world and listen to themselves too.'