GST on Fine Art: Benefits and Implications

The recent reduction of Goods and Services Tax (GST) on fine art (associated with HSN Code 9701) from 12% to 5% under India’s GST 2.0 reform, which came into effect from Sept 22, has been welcomed by artists, galleries, and collectors alike. At first glance, the move appears to be a positive step towards catalyzing the market towards increased growth. Normally, lower tax rates should translate into increased affordability, widen the market, and convert into higher sales volumes. However, it might be worth considering some of the implications which may play a part in the overall outcome.

Photo by Dannie Jing on Unsplash

Lower Prices, Higher Demand

Reducing GST to 5% directly lowers the cost of acquisition for buyers, making fine art more accessible to a wider demographic. This is particularly significant in a market where price sensitivity often deters first-time collectors and younger buyers. Galleries may benefit from increased footfall and transaction volumes, while artists also stand to gain both financially and from the exposure.

The reform is intended to broaden cultural consumption and support creative disciplines, and it does so by reducing the tax burden. With a lower GST rate, it could also perhaps encourage greater compliance and bring in more artists and dealers into the GST net.

Input Tax Credit

Subathra Mylsamy, Managing Partner and Lawyer, A.K. Mylsamy & Associates LLP breaks it down for us, "For much fine art when sold by its original creator, the GST Council has notified a concessional rate of 5%, but with a crucial caveat: the artist or gallery cannot claim ITC for the GST paid on the inputs. This 5% rate is specifically granted on a “without ITC” basis, as prescribed in Notification No. 1/2017-Central Tax (Rate) and subsequent updates. This creates a problem because artists often pay higher GST rates—sometimes 12–18%—on the materials and services comprising their input costs (such as paint, rent, insurance, and logistics). 

When the artwork is sold and ITC is not permitted, the GST paid on these inputs cannot be recovered, so it becomes a permanent additional cost for the artist or gallery. As a result, instead of passing the benefit of the lower tax rate to buyers, sellers typically increase their base price to compensate for the unrecovered tax, which ultimately makes art less accessible and harms both creators and buyers."

It implies that under the 12% structure, galleries and artists were able to offset taxes paid on inputs such as material costs, framing, logistics, printing and other services. Now, at 5%, this credit is no longer available, and which effectively increases the cost of creating art and the profit margins on sales.

Similarly, the inability to claim ITC could now influence gallery functioning and their profitability. Subathra Mylsamy expands, "For galleries, the inability to use ITC is even more pronounced because their operating costs— rent, curation, logistics, and insurance—are almost always taxed at 18%. When outward supplies can only be taxed at 5% and ITC is denied, the gallery experiences a loss that mainly affects smaller businesses. Larger galleries may have mechanisms to survive (by raising prices or absorbing costs), but smaller ones struggle, reducing opportunities for emerging artists and weakening the formal art ecosystem."

Is it better for the buyer now? "From a buyer’s perspective, the lower shown GST rate often does not translate into real savings, since sellers typically raise their base prices to offset tax stranded in the process. This cycle discourages formal transactions and record keeping, pushes smaller entities out of the market, and may lead to a shift back toward informal or cash-based deals—undermining transparency and trust in fine art as an investment asset," points out Mylsamy.

It leads to the question - in the long term, will it affect investment in infrastructure, promotion and marketing of art and thereby the ecosystem at large?

Compliance Factors

The shift in tax structure will require a recalibration of pricing strategies, and other modalities of functioning to optimize costs and profits.

Additionally, inter-state transactions involving integrated GST (IGST) remain complex, particularly for artworks crossing state borders for exhibitions or sales and these also have to be taken into consideration.

Overall, the GST reduction on fine art as part of a simplification of the GST brackets should help the art community, but moving forward the loss of input tax credit and increasing operational complexity must be factored in and thought out to ensure long-term sustainability of this sector. 

Write in your thoughts in the comments section or email on artsceneinfo@gmail.com

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Also read,

• Curating Corporate Art Collections
• Art News: Venkatappa Art Gallery: Renovation
• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Review: Bound – Sculptural Lighting Series

Mangalore by Purva Kundaje 

'Bound’, forms an innovative sculptural lighting series which combines aesthetics and functionality in a unique manner. The brainchild of Purva Kundaje, an artist and architectural designer based in London, the works explore possibilities of material and object, and navigate notions of authorship, co-ownership and collaboration across geographies.

A graduate of the Royal College of Art, where she completed an MA in Design Products in 2021, Purva grounds her practice in narrative expression and sustainable material exploration. In the past, she has collaborated with craft-focused studios such as Rooshad Shroff and Sybarite, and has engaged extensively with women artisan collectives in India to integrate contemporary design languages with traditional craft methodologies. Her recent lighting project ‘Bound’ forges an unusual path – it begins as a sparse handstitched paper lamp, and then invites creative practitioners from varied fields such as poets, illustrators, textile artists, designers and others to participate as co-creators. 

The collaborative aspect of the project originated from a previously held workshop led by Blake Carlson-Joshua and Purva, where they aided and supported participants process and express emotions through making objects. 

Bound- Original Lamp form by Purva Kundaje

The experience revealed the range and depth of creative expression possible even from non-designers and artists. This subsequently inspired her to create a blank canvas, a minimal object which could act as a material and artefact to memorialise multiple collaborations and narratives.

“Each lamp begins as a handstitched, illuminated object made from an experimental paper blend of recycled newspaper and plasterboard waste. Developed through sustainable design research in partnership with Blake Carlson-Joshua, the material is both fragile and enduring—a luminous surface that invites response,” explains Purva. 

The lighting series is in a sense an archive, which continues to evolve as various practitioners share and embed their stories, their cultural heritage, and memories onto the surface of the paper. Text, images and materials coalesce and assimilate on the shell of each lamp, bringing alive the plurality of the project, and the varied aesthetics and visual vocabulary of each piece. 

Threshold by Purva Kundaje 

Among the works, ‘Mangalore’ references the architectural detailing and silhouettes from Purva’s hometown in South India - fragments of memories that are abstracted and represented, while ‘Threshold’ also by her, navigates structure and spatial harmony while celebrating cultural memories and lineage.

All other pieces have been created in collaboration with other creators. – ‘The Kite Flyers’ by Yuwei Cong captures the fluidity of

Soft Silence by Teng Xue

 movement inspired by the action of a kite caught in the wind. ‘Utopía de una mujer que está cansada’ by Chuxi Zhou in red ink is a memoir which resembles a street map that laments loss and longing imprinted within the urban fabric. 

“The Adventures of an Ugly Cat” by Boer Zhu is a whimsical piece addressed to her cat, and combines painting and poetry, obscuring the boundaries between text and visual art. ‘Soft Silence’ by Teng Xue appears to be a labyrinth, reminiscent of the chaos, the maze and the ambiguity of life, while ‘The Flow Within’ by Elisa Nalon also navigates the unpredictability of life. 

 

The Adventures of an Ugly Cat by Boer Zhu 

Every work reflects the creator’s individuality, and gives a voice to their unique stories, rooted in personal histories, identity and memories, and which emerge from distinct socio-cultural and political milieu. The collaborative nature of the project collates diverse narratives from various parts of the world, and also offers a platform to various artistic voices to be seen and heard.

In contemporary times, where AI and technology dominate, an initiative such as this which lays emphasis on sustainable design, the tactility of the surface, and employs the materiality of the paper through acts of writing, stitching or painting creates a corporeal and sensory engagement.

Purva’s interdisciplinary practice and her artistic sensibilities encompasses spatial installations, furniture design, and collaborative storytelling. Through this project, she thoughtfully investigates and engages with the emotional and cultural dimensions of form, utilizing reclaimed materials and light as mediums for evoking memory, authorship, and facilitating transformation.

‘Bound’ has been previously exhibited at Material Matters 2023, part of the London Design Festival, and Conceptual Erasure (Fulham, 2025), and is an ongoing project.

- By Nalini S Malaviya

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Also read,

• Curating Corporate Art Collections
• Art News: Venkatappa Art Gallery: Renovation
• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Review: Emotional Constructs at Play

Twinkle's series of portraits navigates a spectrum of human sentiment, from all-encompassing grief and sadness to buoyant radiance.

Twinkle's recent body of work is inspired by Navarasa, an ancient philosophical concept originating from Bharata Muni’s Natyashastra, which forms an integral element of Indian aesthetics and artistic expression. Her series of portraits centers around the 'Rasa' theory and explores the range and depth of human emotion - the duality and complexity of situations and responses inherent in each moment of existence.

 Joy Unfolded - (Hasya Rasa)

Twinkle recently completed her master’s in fine arts from Middlesbrough, UK. Prior to that she completed her master’s in visual arts from Agra, India and studied graphic printing techniques such as etching and lithography at Bharat Bhawan, Bhopal before moving to UK.

While in India, she was eager to push the boundaries of conventional artmaking further, and began experimenting with various materials and media, in conjunction with printmaking techniques. She found tea water stains on paper intriguing; the multiple layers added physical and figurative depth to her subjects. The resultant textures and the use of an organic medium lend credence to her practice which has a strong emphasis on sustainability and eco consciousness.

The use of tea as a ‘material’ in the artmaking forms a noteworthy subtext with its colonial association, alluding to the cross-cultural exchange and historical context, especially since this new series took shape after Twinkle’s relocation to UK. The entire process of staining the paper and its outcome also act as a metaphor for life’s journey, and its travails. The blemishes and scars imprinted on faces of people, imparts character and individuality to their persona.

The multicultural environment in the UK has instinctively influenced the diverse ethnicity of the portraits in Twinkle’s 'Navarasa' series. Drawn from her observations, the artworks are a celebration of the self, while acknowledging the gamut of human emotions experienced universally.

To add context to the Navarasa philosophy - according to the Indian art and culture tradition, the nine Rasas considered to be central to human emotion are Hasya (laughter), Shringara (love or beauty), Karuna (compassion), Raudra (anger), Vira (valour), Bhayanak (fear), Bibhatsa (disgust), Adbhuta (wonder) and Shanta (peace). These form the basis of expression and communication in Indian performative and visual arts, including modern and contemporary art. The rasas act as a framework for narration - the foundation of artistic and visual construct to connect and communicate with audiences. 

Twinkle locates these universal emotional constructs from Indian aesthetics and tradition amidst a larger global context. The series of portraits navigates a spectrum of human sentiment, from all-encompassing grief and sadness to buoyant radiance. The alterations in facial expressions and the effects are enhanced by strong lines and bold colours that augment the emotional states. Vibrant pinks to earthy browns convey the exuberance or sombreness of the protagonist. The portraits despite the varied multiethnic facial features and influences are relatable, and interlinked by the primeval portrayals of mood, an intrinsic human trait.

In this collection, the nine works comprise of mixed media pieces on wooden boards. A larger composite artwork consisting of portraits around the Hasya Rasa, in particular, acts as a response to, and a reflection of the other works. The current suite with its play of emotion and colour is anchored by a common thread, which has a distinct collective voice, an articulation of shared concerns and feelings. 

Through expressive form and emotive resonance, these works initiate an intimate space for reflection and empathy, accentuating the continuous import of classical 'Rasa' theory in shaping contemporary artistic discourse.

- By Nalini S Malaviya

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Also read,

• Curating Corporate Art Collections
• Art News: Venkatappa Art Gallery: Renovation
• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Curating Corporate Art Collections

- by Nalini S Malaviya, Art Consultant

Art by Sunil Mishra, Reference Image, pic by author 

Curating a corporate art collection for a discerning client is an exciting and challenging process. It involves much more than selecting paintings or sculptural installations to beautify the lobby or the boardroom walls. 

It’s a strategic opportunity to build a visual identity that aligns with brand values, fosters team morale, and influences cultural dialogue beyond the workplace.

Having curated corporate art collections over the years, it has been a truly enriching process for me.

Corporate art initiatives, whether building an art collection or supporting a local art project offer a unique opportunity to make a difference and create occasions for public engagement. There have been instances, where I have also organized and conducted panel discussions and walkthroughs for employees and visitors as an adjunct activity to the art collecting process, and which I found have deepened audience engagement substantially.

Why should corporates invest in art?

Rendered Image for Reference

As I’ve written earlier in The Fine Art of Collecting, collecting art is no longer just about financial investment—it’s about intention and creating an identity.

• A well-curated corporate collection while contributing to the overall decor and environment, reflects the organization’s values and vision.
• Cultural positioning: It signals a company’s commitment to creativity and thought leadership.
• Brand storytelling: Art becomes a medium to communicate innovation, inclusivity, or local culture, or all three in equal measure.
• Internal engagement: Employees feel more motivated and enthused in an environment that values aesthetics and expression.

Supporting Artists and the Ecosystem

Corporate collections can play a pivotal role in nurturing artistic talent, especially local artists.

• Commissioning new work: Encourages experimentation and site-specific installations.
• Showcasing emerging voices: Offers visibility to emerging artists.
• Collaborative programming: Talks, walkthroughs, and workshops can activate the collection beyond static display.

This aligns with the ethos I’ve always championed for, which focuses on sparking dialogue around art; it is as important as the art itself and nurtures art appreciation.

Image for reference, pixabay

Curatorial Challenges

Curating for a corporate space comes with unique considerations:

• Balancing aesthetics and accessibility: The art must resonate with diverse audiences while remaining unoffensive. While one may prefer provocative art, in a corporate setting a neutral voice is generally desired.
• Navigating spatial constraints: Lobbies, corridors, and breakout zones each demand different approaches, placements and mediums.
• Ensuring longevity: It is imperative to factor in conservation, lighting, and rotation schedules which impact the life of an artwork.

Yet, these challenges are what make the process so rewarding. Each decision is an opportunity to educate, learn or engage further.

It is fortunate that a growing number of corporates are looking at art for their premises, not just for the sake of it, but also because they are passionate about it, and are now looking at diverse art forms, media and styles. Many actively try to overcome financial constraints and budgets, after all, let’s face it, investing in art requires intention and effort.

In India too, we’re seeing a growing interest in this space, with more companies recognizing the long-term value of art as both asset and advocacy.

Curating a corporate art collection is a dynamic, layered process—one that blends aesthetics with strategy, and passion with purpose. Each collection requires thought so that the archive grows along with the organization, and remains relevant over time.

Do reach out if you would like to initiate or support an art project, or wish to start an art collection. 

Email: artsceneinfo@gmail.com

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Also read,

• Art News: Venkatappa Art Gallery: Renovation

• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
  
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Shalimar le clown book cover

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Delhi-based contemporary artist Mukesh Sharma is making headlines with his artwork which has been featured on the cover of the newly released French edition of Shalimar le clown - Salman Rushdie’s celebrated novel, which was first published in 2005.

Sharma reveals that author Rushdie and French publisher Antoine Gallimard came across the painting on his Instagram page. He elaborates, “Salman Rushdie took a liking to it and asked his publishing house to reach out to me.” After several conversations and review of many other paintings as well, their team felt this work was best suited for the cover of the novel.

Mukesh Sharma is a painter, printmaker, and installation artist from Alwar, Rajasthan. He holds an MFA degree in Printmaking from MS University in Baroda, and is known for expressing urban complexities, with imagery inspired by Rajasthani miniature paintings, frescos and block-printing of Sanganer. His work often explores the stresses between human and environmental relationships, while navigating intersecting concerns - the isolating effects of social media, the excessive use of technology and a capitalist culture.

Mukesh Sharma

Sharma integrates ready-made materials, including e-waste such as parts of scrapped keyboards into his work to distill complex ideas into accessible visual narratives. His process forms a critique of consumerism while exploring technology’s influence on contemporary life, creating compelling narratives.

Revitalizing Memories, 2021, acrylic on canvas, which is now on the book cover, blends keyboard imagery with 'myth, memory, and identity'. Drawing from Indian miniatures and Panchatantra tales, it reflects on technology’s role and the blurred lines between control and manipulation. Sharma explains that, through this fusion, he critiques scenarios where the boundaries blur, and where it’s difficult to gauge and differentiate between the manipulator or the puppeteer and the puppet. 

The 2005 novel Shalimar le clown set in Kashmir and Los Angelos spans continents and explores themes of themes of love, revenge, and betrayal amidst political and cultural differences and unrest. A richly woven story of personal and political transformation, the chronicle navigates identity and ideology, while tracing lasting impacts of violence. 

Shalimar le clown continues to enthrall readers, and Sharma’s artwork on the cover of the French folio is bound to attract new audiences with its visual intrigue.

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Also read,

• Art News: Venkatappa Art Gallery: Renovation

• Art News: India Art Festival in Bangalore
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Reimagining Nature: Poetics of Viewing by Anil Annaiah

Cotton Candy by Anil Annaiah 

Bangalore based filmmaker, writer, photographer and storyteller Anil Anaiah has been passionately rooting for nature for several decades now. His upcoming exhibition of photographs and short films have been curated by me, and will be on view from 21st - 23rd April 2023 at Devaraj Urs Gallery, Karnataka Chitrakala Parishath Bengaluru.

While appearing to be nature photographs at the first instance, all images have been taken with a purpose. The idea behind it is to reveal details which are invisible to the naked eye and to encourage everyone to really observe and engage with nature in order to take further action that can support and conserve the natural world around us.

Anil's artistic projects have centered around ‘nature is art’ where he encourages positive actions that are aligned with the Sustainable Development (SDGs), through artworks which include photographs, documentaries, videos and also a citizen science initiative. In the past, he has also contributed towards socially relevant campaigns around autism and waste management.

The upcoming exhibition 'Reimagining Nature: Poetics of Viewing' coincides with Earth Day 2023, and is a celebration of Anil’s decade long journey, where he has presented his collection of nature photographs and films in a public exhibition on every Earth Day, since 2014.

The collection features early photographic works that are based on macro-photography and capture stunning magnified views of flora and foliage, offering deeper insights into the aesthetics and science of natural elements. While later works depict blurred or defocused images which appear to be abstracted paintings. The short films are conceptual and capture moving images with textual overlay as ‘thought quotes’ broadly referring to ‘Invest in our planet’, the official theme for this Earth Day, and as a call for action.

Anil believes that simple acts of observation can make one curious to know more about nature and thus act responsibly and discover their inner reflections as Changemakers. With even simple mobile phones one can take photographs and express their creativity and be a part of the changemaker movement. He will also be exhibiting a collection of photographs that has been shot on the iPhone and are exquisitely detailed. 

He elaborates, “Biodiversity loss and Climate Change are the greatest issues we face today. And, you can play an active role in its mitigation by participating in our Art, Storytelling and Citizen Science Experience."

The Pink River by Anil Annaiah

 
About Anil Annaiah

His work from the last two decades has been about conceiving and contributing to diverse assignments as a photographer, creative strategist, writer & filmmaker. He aspires to bridge the gap between the two worlds he works with, the Corporate and the Social Development sector and offer a powerful synergy to build social goodness with communication ideas.

Anil is passionate about developing ideas for creative engagements to build new Changemakers. He continuously explores possibilities to build participative platforms for social sustainability. His diverse experience & collective knowledge from the last two decades, lends him rich communications expertise.

His concept of “Nature is Art for Conservation” with “Discovering Science Through The Lens” presents an innovative Art & Citizen Science Experience Project. This invites people to fall in love with nature all over again and discover their inner reflections as Changemakers. “Art, Nature, Science and You (ANSY)”. The joy of holding a Camera and the endless moments of peace you can soak yourself in gives you the opportunity to do Camera Yoga. This Earth Day 2023 brings in the 10th Consecutive Year.


About the Curator

Nalini S Malaviya is a Bangalore based curator and writer. In addition to curating contemporary art exhibitions, she offers curatorial and advisory services to individuals and corporate, facilitating art acquisition. She has been writing for the media since 2003, and has been an art columnist for leading newspapers. She has contributed to Financial Times, Times of India, Bangalore Mirror, Deccan Herald, several art magazines and artist books, among other publications. She contributed ‘An Art Sojourn’, an essay on Yusuf Arakkal, which was translated in Kannada and published as a chapter in the artist book.

Nalini is the Founder/Publisher of Art Scene India, www.artsceneindia.com, which was established in 2006 as a blog, and which has evolved into a significant resource site and a digital archive, with extensive documentation of the Indian art scene over the last 16 years.

Some of her curatorial projects include the recently concluded solo artist project ‘Interwoven’, an exhibition of tapestries and drawings by senior artist SG Vasudev, ‘Enchanted Breath’, ‘Convergence,’ ‘Bend’, ‘Parallax of Visual Memories’, ‘Reimagining: (Un)Reality and Space’, 'Irreverent Gene' and ‘Polynomials of Relevance’ with leading contemporary artists from across the country.

 
To coincide with Earth Day 2023, the exhibition ‘Reimagining Nature: Poetics of Viewing’ by Anil Annaiah features a collection of Fine Art Photographs and Short Films from 2014 to 2023, curated by Nalini S Malaviya

Exhibition details: 21st, 22nd & 23rd April 2023 at Devaraj Urs Gallery, Karnataka Chitrakala Parishath Bengaluru

Contact Anil Annaiah: Email: anilannaiah@yahoo.com, Ph: 99807 40118

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Also read,

• Art Scene India presents Convergence
• Art News (Bangalore) - Reimagining: (Un)Reality and Space
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Reminiscences by Bharathi S

Recollections: Traveling Through Time

Bangalore based artist Bharathi S. revisits her childhood through paintings that wistfully capture joie de vivre, of carefree days, gone by. The paintings in the new series, ‘Reminiscences’ evoke flashes of vivid memory, of youthful days and simpler times. The kaleidoscopic images depict a fervent memoire tinged with nostalgia and innocence, and of those past moments that were uncluttered and unencumbered from the urgency and stresses of urban life. The works are suggestive of the rich fragrance of imagination and the joy of untroubled days, where time was slower, and perhaps it even stood still, more so, in small towns and villages, where Bharathi grew up.

Her works are akin to photographic film negatives, albeit in color, where masses and forms coalesce and blur, in effortless motion. The colors, as patches of pigments, take shape from a distance, and dissolve once again on approaching closer. Most of the larger paintings have figures of children either playing or watching adults complete household chores – there is an inherent exuberance and dynamism with a heightened sense of motion that is evident. A safe, secluded world is quietly tangible.

An avid traveler, she has been fascinated by clouds – their patterns and how they shift form, disperse, and re-form at times to acquire newer shapes and outlines. Their temporal nature and their transitions, have impacted her perception, in her observations of life and events and their fleeting characteristics. This in turn has inspired the small format paintings, which rely on abstraction as a tool to convey the thematic subjects as they shift forms amidst the colors, and which reemphasize the subtleties of movement and transitions.

Nalini S Malaviya

Art Critic

- Excerpt from the catalogue essay

'Reminiscences' by Bharathi S. continues till Nov 27, at Karnataka Chitrakala Parishath, Bangalore

 

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Also read,

• Art Scene India presents Convergence
• Art News (Bangalore) - Reimagining: (Un)Reality and Space
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Art Bytes - Sparking Conversations Around Art

An ALL Bangalore Fine Arts Chapter initiative

By Jyoti C Singh Deo

The art scene in a Covid ridden world is bound to be on the back burner, or so it seems, but the art scene in a little pocket of Bangalore has been bubbling with activity. All Ladies League, better known as ALL was founded by Dr Harbeen Arora with the sole aim to connect women from various fields of life and to empower them. The onus lay upon pathfinders like Suchitra Kaul Misra, ALL Karnataka Chairperson and Nalini Malaviya, art consultant, curator and writer, who set up the Bangalore Fine Arts Chapter, three years ago. Nalini, with the support of the members of the group, has been instrumental in implementing several initiatives that connect artists and art connoisseurs.

ALL Bangalore Fine Arts Chapter Launch in September, 2018

In recent times, artists have been confined to their homes and this has been an ideal time for them to bring alive their canvases. ALL has been a perfect platform to showcase artworks by women artists. The fine arts Bangalore chapter has begun a series of Art Talks called ‘Art Bytes’ that showcases member artists from the city. The series delves into the works of artists and gives the audience an opportunity to interact with them.

The series of interaction began with Anjana Chandak, an artist, poet and performer, who is well known for her monologues, especially on Draupadi and Ahalya. Her artworks convey a rich spiritual side of her. Jyoti C Singh Deo, an artist, poet, writer and activist digs into her childhood days spent in the industrial town of Jamshedpur and coalfields of Jharkhand to create beautiful artworks. Her art depicts the apathy meted out to the labourers who work at the coalfields. G S Bhavani, an artist who is passionate about nature spoke about her works related to the conservation of River Cauvery. Her rock installations on the river bed and floral installations in natural environs are testimony of a heart that glows for the green world.

Next in line on Aug 2, are chapter vice-chair, Jyoti Gupta, a multidisciplinary artist working with mediums like acrylic, resin, inks and clay. These contribute to her sublime work with a unique style of art. Her work has been featured in several national and international events. And, Sharmila Aravind, who has actively engaged with art in its myriad forms - visual arts, directing documentaries, writing poetry, children's rhymes and singing. It has been an ongoing journey of self exploration and expression through multiple mediums.

Art Bytes is a journey that would be featuring more artists in the coming months.

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

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Also read,

• Art Scene India presents Convergence
• Art News (Bangalore) - Reimagining: (Un)Reality and Space
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

#arttrackwithnalini: Contextualizing Digital Art, Algorithms and NFTs

 

#arttrackwithnalini - 01 on 31st March 2021, 6 pm

Contextualizing Digital Art, Algorithms and NFTs

Speakers: Baiju Parthan, Harshit Agrawal and Shovin Bhattacharjee

Moderator: Nalini S Malaviya

Join us here WICCI Arts Leadership Council | Facebook on 31st March, 6 pm IST

 

In the current context, it is important to have a conversation on the relevance and scope of digital art, algorithms and NFTs in the Indian and global scenario. This panel attempts to locate digital art production, the import, originality and criticality of the image with regards to current trends, technological interventions, digital ownership and environmental implications of blockchain technology, if any.

Join me as I kick start #arttrackwithnalini, a series of conversations, online for now and hopefully in person soon, with experts in the field.

Recently a digital piece, by Beeple sold as an NFT for 69 million dollars at Christie’s. This has created quite a buzz, understandably. It is after all the 3rd highest priced work by a living artist.

But what does it mean for the art world, especially in the Indian context.

So, let's talk about the relevance and scope of digital art, algorithms and NFTs with Baiju Parthan, Harshit Agrawal and Shovin Bhattacharjee, All 3 are extremely well known, inter-media artists who have been in the digital space and technology art for years, and who understand blockchain, cryptoart, artificial Intelligence and NFTs.

Some of the points we hope to cover are with regards to digital art production, what does originality and criticality of the image imply today, the role of technology then in the art making and distribution, what does digital ownership mean and are there any environmental implications of blockchain technology.

Let’s just start this conversation and see how much ground we can cover in this first session.

Join us here WICCI Arts Leadership Council | Facebook on 31st March, 6 pm IST

                                

Meet our panel

Speakers

Baiju Parthan is a Mumbai based inter-media artist, working simultaneously with traditional media of painting as well as new media and digital technology based installation art. He is one of the early exponents of new media art and mediatic-realism in the Indian contemporary art scene. His work explores worldviews and ideologies that are in collision and the resulting ontological fallout felt and lived by all of us.

His work in the digital realm consists mainly of explorations into the mutating boundary where the virtual and real bleed into each other. Through a range of computer generated virtual objects presented as video installations, large scale prints on metallic surfaces, and 3D lenticular prints, Parthan manages to present a critique on high technology and its impact on our life and experience of reality.

He has participated in several landmark exhibitions including, New Interventions in Indian Art, China Art Museum Shanghai & Gaungdong Museum of Art, Guangzhou, China 2015, INDIA!, Centro Cultural Banco do Brasil (CCBB), Rio de Janeiro 2012, Indian Contemporary, Benedictine Museum, Fecamp, France, 2009, Beyond Globalization, Beijing, 2009, 101 Contemporary, Tokyo, 2008, International Live Art Festival Glasgow 2004, Kapital and Karma, Kunsthalle Wien, Austria 2002, and has shown at several important art fairs.

 

Harshit Agrawal is an artist working with artificial intelligence and emerging technologies. He is India’s first artificial intelligence artist, being the only Indian artist among 7 international AI art pioneers in the world’s first A.I art show in a contemporary gallery (Gradient Descent at Nature Morte). In his practice, he uses machines and algorithms and often creates them as an essential part of his art process, embracing becoming the cyborg artist. Harshit’s work is part of the permanent exhibition at the largest computer science museum in the world, HNF museum in Germany. He has exhibited work at other premier museums, galleries and art festivals around the world, like the Ars Electronica Festival (Austria), Asia Culture Center (Gwangju Korea), CADAF Contemporary and Digital Art Fair, HIRESOLUTION Exhibition for New Year’s Ball Drop at Times Square (USA), Museum of Tomorrow (Brazil), among others. He has given several talks at the subject of A.I and Art, including 3 TEDx talks. His work has also been extensively covered in international media, including BBC, New York Times, Artnet, Artsy, STIR World. Harshit has carried out residencies at the Museum of Tomorrow (Brazil), Art Center Nabi (Korea) and X-Lab (Japan). He graduated from the MIT Media Lab and IIT Guwahati. Along with his art practice, he has authored several publications and patents about his work at the intersection of human computer interaction and creative expression. He currently lives and works out of Bangalore, India.

 

 

Shovin Bhattacharjee is an artist working with painting, sculpture, digital art, new media art and public art installation. A pioneering digital artist, he is India’s first artist entering into an NFT art auction.

Born and brought up in Shillong (Meghalaya), he received his BFA and MFA degree in fine arts from Assam University, Silchar, and a diploma in conservation techniques from NRLC, Lucknow in 2002. Shovin has held seven solo shows with the Indian Cultural Centre Seoul, South Korea, in collaboration with Indian Art Museum at Seoul, South Korea.

He has also participated in National and International Exhibitions like “Spirit of India” Embassy of India, Lisbon in association with Art Catto Gallery at Conrad Hotel, Algrave, Portugal; 1st Digital Art Biennial, Brazil; Guanlan International print Biennial, China, India-Korea Art Exchange exhibition at Korean Cultural Center, New Delhi; “HANJI FESTIVAL” exhibition at Korean Cultural Center, New Delhi. 13th Asian Art Biennale organized by The Bangladesh Shilpa kala Academy, Dhaka, Bangladesh; 6th 7th and 8th International print Biennale organized by Bharat Bhavan, Bhopal; “Icon of Asia” International show at EM Art Gallery, Beijing, China; International print Biennale, Finland; Harmony Art shows organized by Harmony Art Foundation, Mumbai; All India Digital Art Exhibition, A.I.F.A.C.S., New Delhi; etc.

Shovin’s work is part of the permanent collection at the Indian Art Museum, Seoul, South Korea, CICA museum, South Korea; Lalit kala Akademi, New Delhi; National Gallery of Modern Art, New Delhi; Manipur Museum, Meghalaya State museum. Indian Cultural Centre, Seoul, South Korea; Art Catto, Portugal; He currently lives and works in New Delhi, India.


Moderator

Nalini S Malaviya is a Bangalore based art consultant, curator and writer. She curates contemporary art exhibitions, working with visual artists from across the country and offers curatorial and advisory services to individuals and corporate. She has been writing for the media since 2003, and has been an art columnist for Bangalore Mirror and has contributed to Financial Times (Delhi and Bangalore) and Times of India, Deccan Herald, several art magazines and artist books. She has written and presented papers for the Karnataka Lalithkala Academy Journal and several of her prefatory essays have been published as part of artist catalogues.

Some of her curatorial projects include ‘Convergence,’ an online exhibition as part of an art and media collective, ‘Bend’ an exhibition of sculptures, ‘Parallax of Visual Memories’, ‘Reimagining: (Un)Reality and Space’, 'Irreverent Gene' and ‘Polynomials of Relevance’.

Nalini is the Founder/Publisher of 'Art Scene India' www.artsceneindia.com, a popular blog cum Ezine featuring art news, events and articles on art, and is a resource center for artists and connoisseurs. Currently, she has a fortnightly art column for Sunday Herald, and is Member, Advisory Committee, National Gallery of Modern Art, Bangalore. She is also the Karnataka President for Arts Leadership Council, Women’s Indian Chamber of Commerce and Industry.

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