In conversation with Art Historian and Curator, Deepthi Sasidharan
India has gone through a significant evolution in the creative and cultural industry in the last few years with more independent artists, curators, designers, publications and many events. Arts and culture might have been more institutional in the past, why do you think this shift has happened? Do you think there is a happy co-existence or do you think it takes away from the value of art itself and the weight of an institution ( especially in terms of curation) is necessary?
The emergence of an independent stream of arts professionals bolsters the creative and cultural industry and, in my opinion, makes way for a healthier balance between independent creators and institutional mandates. Both have advantages and disadvantages and a mix only strengthens the space. In terms of curation, by its very nature, institutional curatorial projects are more ambitious, have the luxury of time and in rare instances are also well funded. In contrast, independent single curator led initiatives have more challenges and are usually more short term and time driven.
You have worked on many prestigious projects. What are the key values and fundamentals of your curatorial practice as it has contributed to significant projects. Walk us through your process ( of research, documentation, archiving, storytelling and experiences).
Perhaps underlining most of the work we do is an abiding love for the history of our country and the need to preserve it. With that focus, everything we do revolves around the importance of historical objects that we work with. For research, we work or collaborate with specialists of the area in which expertise is needed and this often dovetails into the documentation, archiving or the creation of records related to historical/relevant objects. Storytelling is usually more nuanced. It interfaces with audiences and can use a slew of mediums ranging from technology, to storytelling with objects in groups etc.
What have the challenges been? In the ever evolving meaning of art - curation - an ideal museum - technological development and also India's contribution in the world cultural landscape, how have you adapted? How do you think Indian museums have adapted to the shifting identity and new narratives from India?
The challenges have been to find talent. Strong sensibilities, clarity, skill and the ability to engage and adapt in a variety of environments is something that is imperative in such a landscape of work.
Why do you think documentation and archiving is needed? What role do you think oral histories play in the museum world? There is also a rise in private museums. What role do these subjective narratives play in the larger picture? There are new formats like digital museums. Do you think technology x art has its pros and cons?
Unless documentation and archiving take place, history and heritage runs the risk of being lost completely and forever. Today, as we shift from physical objects to virtual collections, why can’t we expand the collection to include songs, oral histories and subaltern cultures, which often get left out in the physical space? Why is there no interest in looking at religion and cultures as they are alive today? Where are the new digital archives as opposed to digital copies of analogue material? Do we need one more photo of the Mohenjodaro Dancing Girl, the Chola Natarajas or the Buddhist Stupa toranas? Maybe it’s time to expand the discourse
Technology x art definitely has its pros and cons. Digital technology, while opening up incredible frontiers of sharing and collaborating, must proceed with caution and care. A slow-digitisation option with moderated debates will benefit individuals, institutions and nations alike. Above all, as with many other human endeavors, it might be best to proceed with balanced moral and ethical interests when digitizing heritage, adopting an inclusive and participatory approach that at the very least attempts to protect and inform all stakeholders.
While the art ( globally) world doesn't necessarily hold a reputation of being democratic, the talk of inclusivity and diversity has been making rounds. Any thoughts on this in the India context? Do you think Indian museums take this into consideration ( in terms of including diversity in every aspect).
From a commercial point of view, it is important to mention that the most successful art often comes from cities. Although in the rural setting, art is inculcated into everyday life and could be practiced through kolam, flower arrangements, etc., it is most often the art in urban contexts which sells. The city artist makes much larger sales than the rural artist. The art industry, or gallery world, responds to demands most often from the cities. There are and have always been artists from a wide range of backgrounds whose work has seen commercial success regardless of marginalized identity. For example, Madhvi Parekh, a hybrid artist who works with both contemporary and folk styles, has seen great commercial success. It is the art that sells; people do not seek out a particular identity when buying art. It is interesting to note that the Indian gallery world is titled in favor of women. It is most often women who are the largest patrons of art commercially, from Kiran Nadar to even Nita Ambani. Keeping this in mind, in India, galleries and government sponsored art fairs are open to those who would like to sell. As for audiences, biennales and government sponsored programs are open to all. However, there is more work and reflection to be done on internal labor hierarchies that exist within the way art is produced for galleries and exhibitions. For example, migrant workers, paid at minimal wages, are employed in the art sector and are not fairly compensated by artists who use their skills.
Corporates have invested in building their art collections, opening cultural centers and museums. Why has this interest increased over the years? How do you think corporate intervention has positively contributed or otherwise in the art and museum world?
For a city to be a cultural power, there needs to be greater parlay between the public and private sector and its economies. If you look at the culture ecosystem in India, it is being invested in heavily by foundations funded by CSR (corporate social responsibility) initiatives, which are not in the business of profit-making from culture. Delhi fares well with its public cultural spaces like India Gate, Triveni Kala Sangam, Crafts Museum and the National Gallery of Modern Art. Then there are commercial fairs such as the India Art Fair and the government-initiated Museum Expo. While some events in Delhi might have privileged access, there are film screenings, international food pop-ups, which are open to everyone. You can see a similar cultural milieu in Kolkata, with its salons, debating societies and poetry readings.
What would an ideal museum look like? Could you name one / or more museums that inspire you and you think are a perfect example of a museum ( in terms of collection curation, ethics, community engagement, adaptation and evolution). Any experimental modern museums that you think pushed the envelope of imagination?
Every museum should keep in mind its target audience. Are we educating or engaging the public? Extensive surveys should be undertaken by the museum authorities to understand the expectations of the people. A museum should revamp itself with the changing times. It should embrace technology as we enter the digital era. Exhibitions with socially relevant topics can attract more visitors. A successful exhibition should entail simple information that’s easy to understand, given the diverse audiences. It should evoke personal memories by marrying the past and the present through gripping narrative techniques and employing immersive and creative displays using technology without much clutter. Finally, authentic, original material always excites audiences and is enjoyable for both people who create exhibitions and those who visit. Activities for children and families alike can be crowd-pleasers too. At the Rezwan Razack Museum for Indian Paper Money in Bengaluru for example, we communicate the hidden security features in a banknote—this makes it fun and visitors often pull out a currency note to see if what they have newly learnt is true. At the Anokhi Museum of Block Printing in Jaipur, visitors can block print their own cloth, bringing home very effectively the story of the process. Embedding into the cultural life of a city’s social fabric is the only way to make museums inclusive, successful and sustainable.
What advice would you give to young collectors who are building their collections?
My first bit of advice to young collectors is to collect art that they genuinely enjoy. Building collections serve a two fold purpose of gathering things that you enjoy looking at, that hold special meaning, fill an important gap in your own narrative and of course, are things that sometimes ( and sometimes not!) appreciate in value. So buy things that you like. Second, every meaningful collection is like a story and this narrative is very important. So you MUST take the help of professionals who help you either acquire, preserve, document or maintain a collection. Having the help of experts who look after your collection and its needs makes your journey easier.