South India’s first private art museum to open in December – Art Newspaper | Candle Made Easy

Bengaluru Museum of Art and Photography (map), south India’s first major private art museum, will open to the public in December after a delay caused by the pandemic. The institution will seek to fill a void in a country where many museums are in a “state of disrepair,” it said India today.

Based in the country’s burgeoning “Silicon Valley,” the new museum is
housed in a 44,000 square foot building designed by the Bengaluru-based company
Architects Mathew & Ghosh. His ambitious exhibition program
contains Visible/Invisible which examines the representation of women in
Art History of the Indian Subcontinent. KG Subramanyan’s painting Woman in the Blue Room (1981) and Mrinalini Mukherjee’s hemp sculpture nope (1986) are among the included works.

The US artist Chitra Ganesh shows a photographic series called
Hidden Traces (2007). “My installative, photographic and sculptural works
is particularly inspired by contemporary mythological tales
Imperialism and queer politics, old Bollywood pictures and songs, poetry
Poetry and erased moments in South Asian history,” she says in a
previous online statement.

MAP Bengaluru hosts the first retrospective of Jyoti Bhatt’s photography

another show Again and again, is the first major retrospective of
the photography of the Indian artist Jyoti Bhatt. drawing curators
from the museum’s photographic archive, which contains 1,000 prints by Bhatt and several thousand negatives. Another exhibition is dedicated to the artist LN Tallur, who was born in the state of Karnataka, whose largest city is Bengaluru.

Philanthropist and businessman Abhishek Poddar donated it
bulk of its collection to make up most of the museum’s 60,000 works of art
and artifacts that tell the story of Indian culture that differs from the
12th century to date. It includes sections on photography, folk art,
Textiles and design as well as contemporary and 20th century art,
including works by great South Asian modernists such as Tyeb Mehta.
Poddar says in a statement: “I think we need the Map Museum of Art &
Shoot now because South Asian cultures represent the cultures of almost a quarter of the world’s population and their stories have not yet been told.”

At a recent press conference, Poddar said that the new institution for museums in India, where the culture budget grew by 15% to INR 26.8 billion (280 million) last year, Poddar’s LinkedIn page describes him as “Director of Sua Explosives & Accessories and Managing Director of Matheson Bosanquet, an 80-year-old company engaged in tea production, trade and export”.

The land for the museum was acquired through a donation from
Poddar family; Construction is funded in part by a donation from
The Poddar family and a group of philanthropists including Kiran Mazumdar
Shaw and Sunil Munjal, and companies like Citi and Tata.

“Map is a non-profit institution that currently receives no government
Promotion and is a unit and a major project of Art & Photography
Foundation, endowment. The programming is funded by private patrons and
corporate sponsorship. All revenue generated from retail
Membership or ticketing for entrance fees, special exhibitions, etc
Certain events are reinvested to cover the museum’s insurance
activities,” said a spokesman.

So is this a breakthrough for Indian museums? Born in India
Natasha Ginwala, Associate Curator-at-Large at the Gropius Bau in Berlin, says: “What is extraordinarily interesting about Map is the complex web of visual cultures that meet early on in this collection
photography to “calendar art”, cinema posters and indigenous traditions
from metalworking to painting. These facets are accompanied by a
extensive incorporation of modernist figures who have emerged across the
country, people like Jyoti Bhatt to Arpita Singh. What remains to be seen
how adventurous the curatorial and discursive setting will be
across the exhibitions and programs produced.”

In recent years, private museums and foundations have played an increasingly important role
active role in India’s cultural landscape that is vital and welcome
signs, she adds. “[This development] must be understood in light of today’s social fractures, restricted freedoms and ethnonationalism
Politics. These institutions have a great responsibility to ensure access and an atmosphere of openness while preserving historical pluralism
and contemporary cultural experience.”

Last year, the map museum’s curators used artificial intelligence software
to create a “conversational digital personality” of the late Bombay
Progressive Painter, MF Husain. During the pandemic, Map developed a number of digital initiatives, including Museums Without Borders (each episode of the YouTube series juxtaposes a work by Map with an object from a partner museum). “We hope that Map will be a catalyst that will help democratize art. We hope to work with other museums across the country to create exciting places that people love to visit,” says Kamini Sawhney, Director of Map.

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