Tamsin Roberts

This article was written for Time Out Beijing:

In a country so nationalistic and self appraising, it is little surprise that with the boom in international interest towards Contemporary Chinese Art, there has been a boom in domestic promotion, popularity and the production of it. Unsurprising too is the consequent scramble to get a piece of the market, resulting in an explosion of average galleries and very average art. It comes as a relief therefore, that large, international galleries are looking beyond this boom and are introducing a broader spectrum of superior quality to the capital, including Contemporary Indian Art.
Korean gallery, Arario Beijing, was the first to show Contemporary Indian Art in the Capital, with their immense group show Hungry Gods in September 2006. Although the work was very unfamiliar to the Chinese, it made a significant impact attracting real interest by serious Chinese artists and collectors to Arario’s second Indian show, by Jitish Kallat in July 2007. Galleria Continua also recognises the importance of showing Indian art and at the end of 2007 exhibited Anish Kapoor’s Ascension.
Arario’s current show, Line of Control by Subodh Gupta, remains true to form; it is immaculately curated and high impact. Gupta’s works take the imagery of shiny stainless steel objects and everyday kitchenware to create a metaphor of food, its containers and its movement around changing cities. The first piece in this show, Start.Stop, is a large round table made up of concentric rings, each alternate ring slowly revolving. The whole installation is covered in carefully placed, shiny food and drink containers. The varying sizes of containers nearly takes the effect of a city scape, the high rise tiffin boxes shining over the more worn water jugs. While being drawn into this slowly moving hustle and bustle, you can hear the sound from the video piece in the background - crashing pots and pans, unpleasant but atmospheric. Which brings you to understand the meaning behind the great swathes of marble effect on the two canvases of blurry stainless steel kitchenware, crashing down onto a table. The blur and the imposed colour blotches, bring sound to the piece and give it immediate movement.
Socio-political and socio-economic themes are heavily explored in the art of both China and India, yet the results are very different. Contemporary Chinese Art grew out of a creative void and exploded with the economy, becoming shamelessly capitalist and consumer driven, as a movement. Something once interesting but now so over done, so much of what we see in China is unoriginal, obvious and boring. Contemporary Indian Art however, although novel to China has an undisputable depth, an evident process and a sensual draw, which is pulling a lot of us closer to it. But is it replacing the hype over Chinese art?
This year’s ShContmporary Art Fair highlighted the emerging presence of Indian art in China. With over 10 Indian galleries representing over 20 Contemporary Indian artists, the rising interest is evident. Ashna Singh Jaipuria, Director of Viart Gallery in New Delhi, wanted to go to Shanghai to create exposure for their artists in China, she says ‘The appreciation of Indian art is definitely there but an Indian market still needs to be cultivated here…The Chinese visitors were impressed with the works of the artists…they also felt the artists had a great style, depth and concept”. However, “galleries were not too happy about sales and I also felt the fair wasn’t able to draw a wide audience”. So regardless of the art, China’s market still has a way to go.
Arario recognises this, their aim is to increase communication and dialogue between Asian Countries explains June Y. Gwak, Director of the gallery. The introduction of new forms of expression takes time in China, she says, but China “is really opening up” which can only be good for the future of art in the Mainland. While some speculate that Contemporary Indian Art is the next ‘trend’, Gwak states it is “not about shifting trends but opening up more possibilities and finding better artists.” Chinese art will perhaps remain the focus of the Chinese but with development and globalisation comes the opportunity for more diversity, which will invariably create space for better art.