Important Notice

Lot 98

 

Quick Zoom

"My art is more like a researcher???s project who uses quotes rather than an essay, with each painting necessitating a bibliography." - JITISH KALLAT

Jitish Kallat draws his subjects from a variety of sources - ranging from the streets to relevant texts or news stories, as seen in the present lot - to comment on contemporary socio-political concerns. Usually comprising several elements and metaphors, his works often need to be... "My art is more like a researcher???s project who uses quotes rather than an essay, with each painting necessitating a bibliography." - JITISH KALLAT

Jitish Kallat draws his subjects from a variety of sources - ranging from the streets to relevant texts or news stories, as seen in the present lot - to comment on contemporary socio-political concerns. Usually comprising several elements and metaphors, his works often need to be decoded and their narratives alter based on the viewers' perceptions.

The present lot comprises a five-foot high fibreglass sculpture of a one rupee coin, coated in black lead. Behind this are placed five lenticular prints, each of which tells two stories. One headline from 2006 proclaims "Call anywhere in India with one rupee!" describing the One India Plan that aimed to make phone calls more affordable across the country. The article terms the scheme "revolutionary,??? quoting the chairman of a telecom company who predicts that it will be ???the death of distance," referring to long-distance phone calls.

The co-existing, contrasting story - which becomes visible when the prints are viewed from a different angle, thus making participation essential - is titled "Indian Girl's One-Rupee Suicide." It reports an incident from 2005 where a young girl was refused a rupee to buy lunch, highlighting disparities in affordability and the extent of poverty that is often ignored when policies are implemented even today. While both stories exist simultaneously, each ???becomes visible only at the cost of the erasure of the other, and in this erasure, the viewer becomes complicit. Next to these stands erected a one-rupee coin that is nothing short of monumental - an aloof viewer...," ignorant of, or indifferent to, its value among different strata of society. (Lily Tekseng, "Here After Here," Art Radar, 2017, online)

"In the art world, his name is already written in stone. To some he is the greatest thing that ever happened to contemporary art." - COLIN GLEADELL

Of the many achievements that Charles Saatchi is known for, perhaps the most notable include his considerable influence in the world of contemporary art and his famous art collection. From transforming the British art scene to setting up the internationally renowned Saatchi Gallery, which has housed the likes of Andy Warhol, Cy Twombly, Damien Hirst and innumerable masters, Saatchi's impact on the art market is undeniable.

The Baghdad-born collector emigrated to London with his family at a young age, and his childhood years were spent obsessed with American pop culture. His first encounter with art - a Jackson Pollock painting at the MoMA in New York - was "life changing." (Quoted in Deborah Solomon, "The Collector," The New York Times, 26 September 1999, online) At 18, Saatchi joined an advertising firm as a copywriter, and eventually started his own advertising agency with his brother in 1970, which grew to be one of the largest advertising companies globally by 1986.

In the meantime, Saatchi had already begun his foray into art collecting, purchasing his first piece of art - a drawing by Sol LeWitt - in his early 20s. By 1985, he had opened Saatchi Gallery in a converted paint factory, transformed by architect Max Gordon into "30,000 square feet of dazzling whiteness tucked behind imposing gray gates on Boundary Road." (Solomon, online) Its inaugural exhibition featured works by Donald Judd, Brice Marden, Cy Twombly and Andy Warhol, from Saatchi's own collection.

In the 1990s, Saatchi's interest shifted from American minimalism to British art, and he curated the first exhibition of the Young British Artist collective at the Saatchi Gallery in 1992. It is a well-established fact that Saatchi's patronage of the YBAs, which included artists Damien Hirst, Sarah Lucas and Tracey Emin, was instrumental in their development and recognition, catapulting their careers into international markets. "Saatchi had put London on the map as a rival to contemporary art hubs such as Berlin, Paris and New York, and changed the face of the country's cultural scene at a time when modern art in Britain was limited to the exclusive enjoyment of a select few." (Laura French, "The Story of Charles Saatchi," European CEO, 11 March 2015, online)

In 2010 - after three major exhibitions, including The Revolution Continues: New Art from China and Unveiled: New Art from the Middle East, at the Saatchi Gallery's new premises at the Duke of York's Headquarters in London - the gallery turned its focus to India, hosting The Empire Strikes Back: Indian Art Today. Featuring 26 contemporary South Asian artists, this international exhibition showcased both emerging and established artists, including Jitish Kallat, Reena Saini Kallat, L N Tallur, Sakshi Gupta, Atul Dodiya, Tushar Joag, and many more. One of the largest of its kind, this exhibition arrived on the heels of a global recession, addressing concerns about the cultural and economic complexities of 21st century India.

The same year, Saatchi announced that he was donating the Saatchi Gallery and over 200 works of art to the British public. Since then, it has been one of the most visited art museums in the world with over 1.5 million visitors, according to a 2014 survey compiled by The Art Newspaper.

The present lot was part of The Empire Strikes Back: Indian Art Today.

Read More
Artist Profile
Other works of this artist in: this auction  |  entire site