India Art Fair 2019: Celebrating the Classic, Contemporary, and Everything in Between

Devika Jamkhedkar, Class of 2021

On a chilly, yet particularly ‘picturesque’ morning, Okhla saw art enthusiasts, seasoned collectors and many of those who keep up with weekly recommendations of ‘Things to Do In Delhi,’ make their way to the India Art Fair. Since its inception in 2009, The India Art Fair has garnered the status of being among South Asia’s premier art festivals. The prestigious event curates the best of modern art from all over India. This year too, artists, galleries and admirers from far and wide convened over four days, to celebrate art in every shape, stroke, figure and form.

In a hall full of every sort of intricate art form, the maximum bustle and gasps surrounded the ‘modern and contemporary art’ exhibit. The sequined treasure of India Art Fair, it celebrated MF Hussain, F.N Souza, S.H Raza and other profound visionaries of Indian modern art. Hussain’s signature galloping horses were a delightfully vibrant curiosity and Souza’s jagged smudges were an unapologetic depiction of twisted human nature, verifying his title as the ‘Indian Picasso.’ A distinct hush reverberated the walls of a darkened little cove bearing the famous self-portrait of Hungarian-Indian artist Amrita Sher-Gil.

Besides the usual aisle of the greats’, the fair had enough to keep the casual art fan interested, with aesthetic treats for every palate. A confectionary of jewelled ceramic doughnuts by Jae Yong Kim spanned an entire wall. Aside from the unforgettable eye candy, an astoundingly lifelike kitchen cabinet and bedroom etched onto a wall elicited many grins, stirred by warm nostalgia. Shimmering metal suits and dresses, a rather psychedelic hologram, and a royally embellished waistcoat enraptured masses with their staggering beauty. A provocative outlier was a giant cannon with a smattering of shiny metal, an otherwise untitled piece that enigmatically read “for beauty is nothing but the beginning of terror.”

Recyclable art found a place of honour, with the resplendent spirals of quilled paper and stacks of rainbow unfurling a detailed image. An interaction with collage artist Roohan Segel, revealed that compiling intricate ‘paintings’ without a single swirl of paint require months of painstaking searching “Reuse, reduce, recycle- it’s just a way of life for me. To create from what is already existing is what I call art.”

Overflowing in the exquisite as usual, the art fair revealed some distinctive quirks. An NGO unveiled a gigantic spread of intimate messages on what art meant to hundreds of Indians, precisely conveying that ‘art is for everyone’ in spite of its commodification. David Hockney’s special graffiti’d BMW was on display, notably sporting his beloved dachshund in the backseat. An initially grotesque, but undeniably charactered sculpture included an abundance of cowpats, piled together amidst iPads parading men exercising in cow masks. One could only contemplate the severity of the deep socio-political message in between raucous sniggers and chortles. Political and social commentary laced through various pieces, problematising complex issues through art. A thought-provoking sculpture by Sudipta Das depicted a dilapidated pile of refugees desperately trying to achieve safety, mirroring her own immigrant family’s struggles.

India Art Fair saw innovation, grandeur, and vibrance. It was a unique insight into the creative minds of hundreds of artists, sparking a newfound appreciation for art. Any gallery might have the prestige to flaunt a genuine Picasso, but the ethos of India art fair goes beyond shimmery canvasses and vivacious statues. It is credited for creating a deep passion and adoration of art, amplifying its significance in our lives. I entered, excited, I saw, spellbound, and reluctantly left, humbled and inspired.

The author is a Staff Writer for the Arts and Culture section of The Edict