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If the inaugural exhibition at Devi Art Foundation highlighted how artists grapple with artwork within the context of society, with the second exhibition, the Lekha and Anupam Poddar collection moves several steps further.

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The second exhibition by The Devi Art Foundation examines the impact of globalisation on Indian art

If the inaugural exhibition at Devi Art Foundation highlighted how artists grapple with artwork within the context of society, with the second exhibition, the Lekha and Anupam Poddar collection moves several steps further. Another selection of artwork from their humungous private collection is made public, this time, to examine the impact of globalisation and economic liberalisation on contemporary art in India, in an exhibition titled 8216;Where in the World8217;. The display includes artwork by some internationally renowned Indian artists, while the faculty and students from the School of Arts and Aesthetics, Jawaharlal Nehru University, play curator.

8220;We visited the Poddar farm innumerable times in the last year in order to see the entire collection and decide on a theme. Several factors, ranging from the display area to the safety, fragility and sheer size of artwork had to be kept in mind,8221; says Naman Ahuja, associate professor at the department, as he points to Sheba Chhachhi and Sonia Jabbar8217;s installation titled When the gun is raised, dialogue stops. Placed in the basement of Sirpur House, the Devi Art Foundation8217;s red brick structure in Gurgaon, this features testimonies on terrorism and conflict from Kashmiris. 8220;The work is 60-foot long and can8217;t be displayed in most galleries,8221; adds Ahuja. The observation applies to several other works on display. Though as a composite, the exhibition aims at providing answers to a range of important questions in a historical context, like, what does new Indian art look like? Whom does it address? How will this era be remembered in the future?

The answers are neatly divided into four segments. In 8216;Export8217;, the brief indicates that the collection traces the strategies used by artists asked to enact 8216;Indian-ness8217; in their work. Placed near the door is a Subodh Gupta fiberglass cow in pink, which is reportedly the first work by the artist acquired by Anupam Poddar, and placed close to it is Sheela Gowda8217;s Draupadi that has strands of thread attached to sewing needles, suspended from the ceiling.

If the grandness of Sudarshan Shetty8217;s multimedia wall of 1,000 replicas of the Taj Mahal in metal attracts attention, in 8216;Outrageous8217; the visitor is welcomed with a disclaimer that warns them of the subversive nature of some of the work. So, in a photo installation titled Vilas a naked Subodh Gupta is smeared in Vaseline and reclines on a sofa, and Atul Dodiya has a Mahatma Gandhi oil on canvas behind a metal shutter in B for Bapu.

While the curatorial endeavour to examine the ways in which artists engage with the larger public defines 8216;Outrageous8217;, another, 8216;Uncollectable8217; is about the movement of objects through markets and into private collections. Some of the artworks are unwieldly for private space and provocative for the public realm. However, it is here that we see another popular artwork from Poddar8217;s collection8212;Love, Sudarshan Shetty8217;s life-size model of an antique cream-coloured Jaguar with a giant dinosaur mounting it from behind. From Poddar8217;s living room, this has shifted to the lower basement of Sirpur House till May when the exhibition ends.

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Vandana Kalra is an art critic and Deputy Associate Editor with The Indian Express. She has spent more than two decades chronicling arts, culture and everyday life, with modern and contemporary art at the heart of her practice. With a sustained engagement in the arts and a deep understanding of India’s cultural ecosystem, she is regarded as a distinctive and authoritative voice in contemporary art journalism in India. Vandana Kalra's career has unfolded in step with the shifting contours of India’s cultural landscape, from the rise of the Indian art market to the growing prominence of global biennales and fairs. Closely tracking its ebbs and surges, she reports from studios, galleries, museums and exhibition spaces and has covered major Indian and international art fairs, museum exhibitions and biennales, including the Venice Biennale, Kochi-Muziris Biennale, Documenta, Islamic Arts Biennale. She has also been invited to cover landmark moments in modern Indian art, including SH Raza’s exhibition at the Centre Pompidou in Paris and the opening of the MF Husain Museum in Doha, reflecting her long engagement with the legacies of India’s modern masters. Alongside her writing, she applies a keen editorial sensibility, shaping and editing art and cultural coverage into informed, cohesive narratives. Through incisive features, interviews and critical reviews, she brings clarity to complex artistic conversations, foregrounding questions of process, patronage, craft, identity and cultural memory. The Global Art Circuit: She provides extensive coverage of major events like the Kochi-Muziris Biennale, Serendipity Arts Festival, and high-profile international auctions. Artist Spotlights: She writes in-depth features on modern masters (like M.F. Husain) and contemporary performance artists (like Marina Abramović). Art and Labor: A recurring theme in her writing is how art reflects the lives of the marginalized, including migrants, farmers, and labourers. Recent Notable Articles (Late 2025) Her recent portfolio is dominated by the coverage of the 2025 art season in India: 1. Kochi-Muziris Biennale & Serendipity Arts Festival "At Serendipity Arts Festival, a 'Shark Tank' of sorts for art and crafts startups" (Dec 20, 2025): On how a new incubator is helping artisans pitch products to investors. "Artist Birender Yadav's work gives voice to the migrant self" (Dec 17, 2025): A profile of an artist whose decade-long practice focuses on brick kiln workers. "At Kochi-Muziris Biennale, a farmer’s son from Patiala uses his art to draw attention to Delhi’s polluted air" (Dec 16, 2025). "Kochi Biennale showstopper Marina Abramović, a pioneer in performance art" (Dec 7, 2025): An interview with the world-renowned artist on the power of reinvention. 2. M.F. Husain & Modernism "Inside the new MF Husain Museum in Qatar" (Nov 29, 2025): A three-part series on the opening of Lawh Wa Qalam in Doha, exploring how a 2008 sketch became the architectural core of the museum. "Doha opens Lawh Wa Qalam: Celebrating the modernist's global legacy" (Nov 29, 2025). 3. Art Market & Records "Frida Kahlo sets record for the most expensive work by a female artist" (Nov 21, 2025): On Kahlo's canvas The Dream (The Bed) selling for $54.7 million. "All you need to know about Klimt’s canvas that is now the most expensive modern artwork" (Nov 19, 2025). "What’s special about a $12.1 million gold toilet?" (Nov 19, 2025): A quirky look at a flushable 18-karat gold artwork. 4. Art Education & History "Art as play: How process-driven activities are changing the way children learn art in India" (Nov 23, 2025). "A glimpse of Goa's layered history at Serendipity Arts Festival" (Dec 9, 2025): Exploring historical landmarks as venues for contemporary art. Signature Beats Vandana is known for her investigative approach to the art economy, having recently written about "Who funds the Kochi-Muziris Biennale?" (Dec 11, 2025), detailing the role of "Platinum Benefactors." She also explores the spiritual and geometric aspects of art, as seen in her retrospective on artist Akkitham Narayanan and the history of the Cholamandal Artists' Village (Nov 22, 2025). ... Read More

 

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