JOIN USGirish Shahane is the artistic director of the India Art Fair 2015. He is responsible for putting up an extensive schedule that includes a comprehensive series of artistic projects.
The projects are integrated in conjunction with the Speakers’ Forum, which is expected to bring a diverse range of high profile industry speakers and thought leaders to the fair.
A well-known writer and commentator, Shahane has degrees in English Literature from Elphinstone College, Bombay University and Oxford University. He writes on visual art, film and cultural politics. He was the Director of the Skoda Prize for Indian Contemporary Art.
Shahane shares his views on IAF and contemporary Indian art, in general.
What is the role of the artistic director in an event like IAF?
I am in charge of the relatively non-commercial side of the fair: the special projects for which space is provided free of charge, and the conference, which is called the Speakers’ Forum. I have also helped with the layout and gallery selection.
You have written some tongue-in-cheek reviews of the IAF in the past. How do you think IAF has evolved over the years?
I’m not sure which reviews you are thinking of. I have mentioned in the past that IAF was going to have to resolve for itself the issue of international taste versus Indian taste, and that is certainly something that has informed the model that we see today. Despite this, IAF remains in a dominant position, evolving and responding to the market, and staying well ahead of the competition.
What were the main challenges/constraints you faced as the artistic director? How did you overcome them?
One logistical challenge is that I live in Bombay and the fair happens in Delhi. However, we were able to work around this. It has been a hugely positive collaboration and we’re now excited about seeing the artistic projects on-site.
You have managed to get a fine group of experts for the Speakers’ Forum? Do you have any plans to summarise the discussions in publication so that people who missed the sessions can benefit from it? Also, your thoughts on how art projects could enhance the value of events like IAF?
It would certainly be of great value to have a publication, but this is not confirmed at present. Art projects are important to art fairs because they enhance variety and quality by bringing in art that is of substantial scale and hard to sell.
You had once argued that “there has been a substantial change in the Western perception of Indian modern and contemporary art in recent years.” Do you think that events like IAF have contributed substantially for that (or, is it the auction results which are actually turning the screws better)?
It’s mainly the shift in economic power as a whole, to nations like South Korea, China, and India that has driven the change in perception. The art fair and auctions have contributed as well, but not as substantially.
People have been talking about ‘cautious optimism’ for quite some time about the Indian art market. What do you think is the real picture?
The real picture is that while the market has undeniably been struggling over recent years for a number of reasons, such as a lack of state support for example, there have been enough high points in the calendar to keep optimism alive. It is a slow process and we need to be realistic about this. The media’s often inflated focus on the market is counterproductive in the medium and long run, though it might have some immediate benefit in spurring viewership.
As one who was closely associated with it, do you regret the demise of the Skoda prize? What do you think would be a better and viable alternative?
I do regret it, because I think we built an excellent independent platform for cutting-edge art. There can’t be a viable alternative on the same scale until viewership of art increases substantially, unless a patron who has a long-term vision and deep pockets comes forward as a sponsor.