Knock knock at our conscience’s door

In an increasingly conflicted world, art focusing on social, political and environmental themes assumes greater relevance. This has been an ongoing trend and we have seen several artists who have been unafraid to raise their voices against socio-political injustices, environmental degradation and displacement of indigenous communities, among other topics of immediate concern.

For instance, Ai Weiwei’s installations are known for their political undertones and their provocative nature. The well-known Chinese contemporary artist and activist recently returned to New York with his exhibition ‘What You See Is What You See’ (ongoing till Feb 23), which presents 12 large-scale works made of toy bricks that address issues such as freedom of expression, and geopolitical tensions amidst the complexities of the global landscape. Shilpa Gupta is another artist well known for her multimedia works which centre on issues related to injustice, incarceration and identity. Her recent exhibition, ‘Did Not Tell You What I Saw, But Only What I Dreamt’ at the Madison Museum of Contemporary Art, USA, presented installations, sculptures, photographs, and drawings that “focus on human agency and information’s power to shape societal behaviour and one’s identity.”

As has been evident, AI and technology have proliferated multiple aspects of our lives, and their use in art continues to grow in both the making of the artwork, and in deepening audience engagement.

How would a machine then interpret the vast art collection at The Museum of Modern Art? ‘Unsupervised’ by artist Refik Anadol answered just that. An advanced machine-learning model interpreted more than 200 years of art at MoMA, to reimagine the history of modern art and to simultaneously envision potential futures. It also integrated real-time inputs such as variations in light, movement, sound, and weather from the Museum’s Gund Lobby, to create a dynamic imagery and soundscape, offering an immersive experience.

AI, despite its ethical implications, ownership, and various other controversies that are associated with it, is a popular tool for creating art, and also to a large extent to critique its use and provoke critical thinking around its usage. ‘Matchbox Mementos’, an interactive digital exhibit by artist Harshit Agarwal, explores the cultural and historical import of matchbox art in India while introducing a playful element to it. The work has been made using StyleDrop, a Google Text-Image Style AI Generation model and the artwork has been inspired by the traditional Indian board game Moksha Patam, also known as Snakes & Ladders and it reveals fascinating tales about matchbox art and its significance in Indian culture.

Scale plays a monumental (pun intended) role in transforming the space and in its perception. At last year’s Art Basel, which featured several large-scale installations, Yayoi Kusama’s giant sculpture ‘Aspiring To Pumpkin’s Love, The Love In My Heart’ stood out — it depicted two interconnected bronze pumpkins, marked by her characteristic polka dots. Art Basel’s upcoming edition in Hong Kong, ‘Encounters’, is dedicated to large-scale projects and will feature 18 large-scale installations by various artists from different geographical regions. There is a renewed interest in conserving and reviving traditional art forms and encouraging collaborations between traditional craftspersons and artisans.

The cross-pollination of ideas between traditional knowledge and skill, and the contemporary adaptations of vernacular art forms have led to extraordinary outcomes, as has been evident at various international art events and in the country. The Indian Ocean Craft Triennial (IOTA) is one such event, which began in 2021 and has successfully run two editions so far. It focuses on showcasing contemporary craft from the Indian Ocean Rim and brings together artists, and makers while celebrating the medium of craft and the handmade.

Similarly, textile art in its numerous forms has been growing in popularity in the last few years. Closer home, many years ago, senior artist SG Vasudev collaborated with a master weaver to transform several of his paintings into tapestries, a few of which are part of the permanent exhibit at the Kempegowda International Airport in Bengaluru. Manisha Gera Baswani, Shivani Aggarwal, Lavanya Mani, T Venkanna and Gurjeet Singh are a few names in the Indian art world who have used thread and fibre in their practice while deploying techniques such as embroidery, weaving, crocheting and so on.

Along with textile art, there has also been a focus on the use of natural materials in art-making, to emphasise sustainability and address environment-related themes. These practices have led to a varied and exciting contemporary art landscape, and this year, with several major art exhibitions and events lined up, promises much more.

Dab Hand is your art world lowdown.

The author is a Bengaluru-based art consultant, curator and writer. She blogs at Art Scene India.