Why many Indian galleries are focusing on older artists now

Late last year, amitava das help a solo show in new Delhi, In another time that is nowFeaturing a wide range of works spanning his career – from early Pieces Dating Back to the 1960s to More Recent Works Created in 2015. Gallery. This March, subcontinent, an art gallery in Mumbai’s fort district, open its doors with a show of the late haku shah’s work, highlighting seven decades of his artistic journey. “Frequent Told Stories Form the Mainstream Narrave. Our Focus is on overlied art historys,” Says Keshav Mahendru, Co-Founder of the Gallery.

An ‘Untitled’ Amitava Das Pen and Ink on Paper (1992) at Shrine Empire

Haku shah’s Jekare angane naurrangiya (2002) At SubContinent | Photo Credit: Ryan Martis

While The Last Decade Has Seen an unprecedented focus on emerging and early-career visual artists-with the launch of opoportunities such as residencies and scholarships, new Awards, And GRANTS, and Even Galleries looking to induct fresh talent to their respective rosters – there have been a recent shift across institutions and the commercial gallery ecoSystem. There is now an active interest in exhibiting established and late-career artists. From retrospectives to large exhibitions, galleries are celebrating Senior artists, whether they are recorded, still in practice or even decision. What is driving this departure? We spendak to leading museums and galleries.

“Amitava’s visual language is philosophical, poetic, and like that of many artists we work with, especially that with whose practice reflects reflects, perception, perception”Anahita tanejaCo-founder, Shrine Empire Gallery. Das is the first artist of his generation to be represen by them.

Anahita Taneja (Right) and Shefali Somani

An Intergenerational Approach

“Many late-career artists were pioneers. “For instance, the cholamandal artist village is a seminal part of our modern art history, and we recognize the importance of such collectives in shaping alternative arts discourses.”

Ishta salgaocar

Some, Such as Bengaluru-Based Museum of Art & Photography (Map), Are Taking An International Approach. “Our Curatorial Approach is to Connect Historical Practices With the Present,” Says Founder Abhishek Poddar. Map showcased the work of Meera Mukherjee and Jaidev Baghel, Two Significant Figures of India’s Modern Art History, Complementing it with a Photo Essay by Contemporary PHOTOGRARARY PHOTOGRARY PHOTOGRAN Nageswaran. “This created an added layer for audiences to connect with one or the other,” say poddar.

Abhishek Poddar | Photo Credit: Prarthana Shetty

Krishna Reddy’s Prints on View at Map’s Exhibition ‘Rhyme Unbroken’ | Photo Credit: Philippe Calia

New Delhi-Based Exhibit 320, Known for Supporting Emerging and Mid-Career Voices, Creates Space for Senior Artists Whose Practices Offer Depth and Continuity. “We have shown the works of Gopi Gajwani, and recently showcased the art of devraj dakoji to build on the internetal dialogue,” Says rasika kajaria, founder of the gallery.

Devraj dakoji; s Pranamu (1987) at exhibit 320

Rasika kajaria

Latitude 28, New Delhi, Exhibits Work of Senior Practitioners AlongSide Younger Artists to Trace Interconnections in the Evolution of Artistic Languages. They also hold solo shows, like that of jyoti bhatt. “He has been a defining element in art history and continues to influence the artistic and cultural milieu,” Says bhavna kakar, founder of the gallery.

Jyoti Bhatt’s BEGINING OF THE JOURNEY at latitude 28

Bhavna kakar

Early supporters

The Kiran Nadar Museum of Art (KNMA), New Delhi, Is Committed to Showcasing Diverse Voices and Perspectives in its exhibitions. “We are always the first to present retrospective exhibitions of artists Artistic discourse, “Says Roobina Karode, Director and Chief Curator, Knma. Many of these Voices Illuminate Seminal Moments that have Shaped Subsequent Creative practices, For instance, patel used a blowtorch to burn wood in his art work, while Shah explred ideas and concepts through terracotta sculptures.

Roobina Karode | Photo Credit: Mohammed Roshan

Nature Morte in New Delhi has been identified with young and emerging artists since its incenation in 1997. Hashmi, Krishna Reddy, and Nasreen Mohammmedi in Group Shows.

Peter Nagy

Continued relevance in current time

Poddar says they exhibit works, which serve as entry points into larger conversations about identity, social, and change. “Even when you are the past in the past, the questions they raise remain relevant today,” He Shares. Practices like that those of haku shah deal with the timeless questions of life, such as love, and humanity. “His works are rooted, Deep, and Honest, and Will Always Be Relevant,” Says Dhwani Gudka, Co-Founder, Subcontinent.

Dhwani Gudka (Right) and Keshav Mahendru | Photo Credit: Sarang Gupta

Nagy says that Manu Parekh’s Recent Solo Show was inspired by Sacred Rituals, Primarily Hindu, which take place place even today. Parekh Gained Prominence in 2022 Through a collaboration with the house of Dior. A series of 22 artworks, featuring imagery from paintings by manu and his wife madhvi, served as a floor-to-centered backdrop for Dior Spring/Summer Runway Runway At Paris Hautte Course Warist Welfare Warist Warist Waris

Manu Parekh’s Chanting for Shiv Shakti in Temple at Nature Morte

These artistic practices are not related of history, but persistent withhin our contemporary social and cultural fabric, adds salgaocar. “Such Works Invite Reflection on How the Past Continues to Inform Our Current Social and Political Realities,” She Says.

Similarly, dakoji’s practice offers a lens through which to view the past as a living, Breathing influence on the present. Kajaria feels that his works explore memory and migration, which remain relevant today. “Dakoji’s Practice is Rooted in History Yet Alive With Inquiry That Compliments The Experimental Spirit We Value,” Says Kajaria.

The Culture Writer is based in Delhi.