Introduction

The art world has evolved considerably in recent years, with art fairs becoming more and more essential for connecting and appreciating contemporary art among artists, collectors, curators, and art enthusiasts. Popular South Asian art festivals, such as the Dhaka Art Summit in Bangladesh and the India Art Fair in India, have gained worldwide recognition for their distinctive and exquisite works of art displayed on a larger scale. This comparative analysis explores the origins, purpose, impact, and distinctive qualities of two major art events in South Asia.

Exterior view of India Art Fair, 2023, Image Credit: India Art Fair., https://www.artsy.net/

The Foundation of Dhaka Art Summit and its Approach Towards Democratizing Art 

The Samdani Art Foundation was established in 2010 to address the absence of Bangladeshi art in international art fairs and exhibits. The organization was prompted by a desire to introduce the world to the country’s untapped potential. The Dhaka Art Summit (DAS) had its debut edition in 2012, and the organization has expanded beyond expectations since then. The founders, Rajeeb and Nadia Samdani, initially travelled to art fairs and exhibits as collectors but were astonished by the lack of knowledge about the Bangladeshi art scene among the art fraternity around the world. They realized the necessity of assisting artists in getting their works and existence acknowledged in the worldwide art community. They began by supporting artists in exhibiting in international exhibitions but soon realized the need for a dedicated space in Bangladesh where people could see the range of Bangladeshi and South Asian art in its wider context. This is how the Dhaka Art Summit came into being. Dhaka Art Summit emphasizes the promotion of contemporary art in Bangladesh and the region. It encourages inclusiveness and has been instrumental in putting South Asian art on the global art map.

Rajeeb and Nadia Samdani – founders of Samdani Art Foundation and Dhaka Art Summit, https://www.thenationalnews.com/

The Dhaka Art Summit brings together professionals in the field to learn about the Summit’s vision and objectives, while simultaneously observing not just the exhibits of works but also the democratization of art itself. The art industry has long been a forum for debate and controversy, but its exclusivity has restricted its social influence. The Dhaka Art Summit provides a venue for addressing this issue. Bangladesh, an emerging nation with swiftly increasing economic and social growth, is currently going through difficulties with development including construction, traffic, and poor air quality. Progress, on the other hand, brings with it opportunities for innovation. By presenting a world-class exhibition, the Dhaka Art Summit hopes to further Bangladesh’s philosophical and cultural growth. The Samdani Art Foundation fills a void in the country that does not have a dedicated contemporary art museum. The festival acts as a platform for cultural dialogue and societal transformations, allowing Bangladesh to display its art while also contributing to the country’s cultural and socioeconomic growth. In many countries, art and culture remain aristocratic. It is critical for artists that they exhibit their work to ensure anybody may access it. DAS has established the influence of this concept by being a free, human event with volunteers trained in cultural mediation. By replicating similar approaches as witnessed at the Dhaka Art Summit, the international art community may strive toward greater impact in their own work. 

The Dhaka Art Summit, hosted by Rajeeb Samdani and Nadia Samdani MBE and the Samdani Art Foundation, is a biannual event held to showcase contemporary art of the region and is one of the few art events of this type which is completely free and open to the public. Pictured here is Bishwajit Goswami’s Reetu ঋতু, 2022-2023., https://www.forbes.com/

The Dhaka Art Summit is an important event that shows sophisticated and socially sensitive artwork in a country still recovering from colonialism and partition. The festival has had an economic influence on Bangladesh, allowing artists to make their living and developing a market for contemporary Bangladeshi art. The Summit’s exhibits have been shown across the world, including artworks bought by institutions like Centre Pompidou, Tate Modern, Guggenheim, and Metropolitan Museum of Art. The success of these artists not only expands the market for contemporary Bangladeshi art but also increases awareness of the plight of indigenous peoples across the world.

As Diana Campbell, the Artistic Director of the Samdani Foundation and Chief Curator of the Dhaka Art Summit quotes, 

“This show and platform is speaking to multiple audiences in different ways, but ultimately it’s meant for the Bangladeshi people.” 

Joydeb Roaja, Lake of Tears, 2023, is a story which shares a depiction of the intentional flooding of the indigenous Chakma land.FARHAD RAHMAN, COPYRIGHT DHAKA ART SUMMIT 2023, HTTPS://WWW.FORBES.COM/

Initiation of India Art Fair for channelizing the vibrant market for Contemporary Indian Art 

The India Art Fair (IAF) is a New Delhi-based commercial art fair that brings together Indian and foreign gallerists, collectors, and artists every year. formerly known as the India Art Summit, the IAF has fostered an economic interest in Indian art by creating up fresh markets. The fair, which was founded in 2008 by Neha Kirpal, is modelled after internationally renowned art fairs such as Frieze London and Art Basel in order to foster awareness and establish links with galleries and collectors interested in Indian art. The fair spans a total of four days, with the first day reserved for VIP invitees. The fair is held in the NSIC Grounds in Okhla, New Delhi, and has artworks displayed in pavilions as well as a restaurant, cafe, bar, and food stalls for attendees. There are talks, concerts, and guided tours. Participating galleries are from New Delhi and Mumbai, as well as those from throughout the country and beyond. The fair was partially bought by MCH Group, the proprietors of the Art Basel network, in 2016, before being completely owned by Montgomery Arts. Over the years, the India Art Fair (IAF) has grown into a key event for artists, galleries, and art viewers, promoting contemporary and modern art in India and cultivating an active network that includes different art organizations, and galleries from India and abroad.

Installation view of India art fair, 2023, image courtesy: India art fair, https://www.artsy.net/

IAF director Jaya Asokan indicates, 

“The fair strategy has shifted towards a more domestic focus, driven by strong demand within India and a growing collecting base in cities beyond Delhi and Mumbai who are willing to buy across mediums and price points.” 

To meet the rising enthusiasm among millennials and a new generation of art enthusiasts, India Art Fair 2023  extended its Young Collectors Programme. The fair’s initial response had been phenomenal with several buying inquiries. The theme of this year’s edition was a post-pandemic trend involving the convergence of artists and technology. Galleries changed their emphasis to online sales, blurring the distinction between artists and connoisseurs and boosting access to contemporary art practices. Indian artists have also used online platforms and social media to connect with the art world. The Indian art landscape has undergone a transformation, and Asokan, the fair’s director, is keen to produce the largest and most ambitious edition so far, including a varied spectrum of young and established artists for next year’s IAF event.

Raja Ravi Varma, installation view of Kizhakke Palat Krishna Menon & Family, 1870, in DAG’s booth at India Art Fair, 2023, Image Courtesy: India Art Fair, https://www.artsy.net/

Comparative Analysis of the Dhaka Art Summit and India Art Fair as One of the Most Celebrated South Asian Art Festivals 

If we examine a few features while comparing the Dhaka Art Summit (DAS) and the India Art Fair (IAF), we may find some significant discrepancies in the strategy and general administration of the two foremost South Asian art festivals. 

The Dhaka Art Summit (DAS) is a large-scale event that features a free and open-to-the-public art fair in a country of over 160 million people. Despite its ambitious goals, the summit achieves its objective of democratizing art. It functions as a classroom for the art ecosystem, instructing on how to democratize art, why it should be democratized, what it looks like in practice, and the effects and outputs of such inclusion. DAS encourages creative interchange and collaboration in South Asia by showing fresh talent from Bangladesh and adjacent countries, focusing on broadening participation, education, and the development of regional art infrastructure, and encouraging artistic conversation and collaboration. The IAF’s purpose on the other hand is to promote Indian art and create a thriving marketplace for contemporary and modern art, allowing galleries from India and abroad to engage with collectors and art enthusiasts while emphasizing sales and transactions.

DAS has had an enormous worldwide effect on South Asian contemporary art by encouraging relationships between artists, curators, and collectors. It has also aided in the development of art infrastructure in Bangladesh and neighbouring countries, while the IAF has been instrumental in popularizing Indian contemporary art and drawing worldwide attention. It has also given Indian artists a platform to interact with worldwide audiences and galleries. The economic success of DAS has prompted investment in the Indian art sector. It focuses on non-commercial parts of art, such as workshops, talks, and performances, with the goal of bridging the gap between art and society. The IAF is well-known for its flourishing art market, which attracts a varied audience. However, DAS confronts difficulties in securing long-term funding and resources, as well as managing political and social obstacles in the region.

The Dhaka Art Summit also attracts internationally known contemporary artists such as Sir Antony Gormley, whose installation is pictured here., https://www.forbes.com/

Conclusion 

The Dhaka Art Summit and the India Art Fair are two distinctive South Asian art events, each with its own history, purpose, and significance. DAS is known for its non-commercial art and collaboration, whereas IAF is known for its booming art market. Both festivals have greatly promoted art in their respective regions and elevated South Asian art to international prominence. They do, however, face unique problems as they expand and define South Asian contemporary art. The necessity to achieve a balance between financial success and artistic integrity is one problem that the Dhaka Art Summit and India Art Fair encounter. While the IAF’s emphasis on the art market has provided artists with financial possibilities, it may also lead to a preference for market-driven art over more experimental or socially oriented practices. Similarly, DAS’s concentration on non-profit art and cooperation may limit its capacity to obtain funding as well as reach a larger audience. Thus, finding methods to overcome these obstacles while being loyal to their uniqueness will certainly work out for both organizations.

References 

Online Articles:

• Suhrawardi Rebecca,24th March 2023, “The Dhaka art summit defines the democratization art, and what the art world can learn from it”, Forbes
• Devi Reena, 11th February 2023,  “The art Fair returns with a focus on Young Collectors and South Asian artists”, Artsy Net

Websites: 

• India Art Fair
• Map Academy

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